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PKayC

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About PKayC

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    Advanced Member

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  • Gender
    Female
  • Location
    Dallas, Texas
  • Interests
    Films, of course, literature, antiques, vintage clothes, gardening, and knitting.
  1. Jules Styne and Bob Merrill’s song “People” is a touching musical piece which goes to the core of humanity’s deep need of connection. Barbara Streisand’s rendition of the song “People” in the film Funny Girl is like a lullaby, smooth and stylized with select phrases stretched out for emphasis. The orchestration of the violins supports Streisand’s phrasing. Fanny (Streisand) is singing these lyrics to Nicky Arnstein (Omar Sharif)—it is a private audience of one, an intimate, romantic expression of affection and connection. If Fanny belted out the words and performed more theatrically with br
  2. The overarching theme of Gaslight and My Fair Lady is the dominance of men over women and within this dominance a desire to create an idealized representation of the beautiful and submissive female. Both films are set in the turn-of-the-century, early 1900s to which critical responses to the literature of this period identifies as the cult of domesticity where the vision of the female as "the angel of the household" is projected. Women are manipulated and coerced into being these malleable figures that can be fashioned into the vision that men desire. The corset, a staple garment of the per
  3. Male roles have changed from the 1930s to the 1960s. They have evolved because society: women desire more freedom, and men do not have to be the authority figures that manage their lives. Robert Preston shows in both The Music Man and Victor/Victoria that a man's position can be one of an equal balance of strength (physical or intellectual) and vulnerability. A man can show his character by being assured of himself and allowing a woman to be herself. As Harold Hill, Preston does not attempt to control or change Marian (Shirley Jones), but instead, he gives her space to discover her own fee
  4. The film Gypsy does look backward to classical musicals from its title and this scene of an audition in a theatre. Performers from vaudeville onward are "gypsies" by nature, transient folk who travel across the country doing their acts for various audiences within the theatre circuit. The inside look of the stage audition is classic movie musical form, showing the film viewers the pre-performance trials of getting a part in a show. This glimpse into the struggles of performers will be heightened in A Chorus Line where dancers will sing about their challenges in pursuing their big break in t
  5. "For a painter, the mecca of the world for study, for inspiration, and for living is here on this star called Paris. Just look at it--no wonder so many are have come here and called it home! Brother, if you can't paint in Paris, you better give up and marry the boss' daughter." This is Jerry Mulligan"s (Gene Kelly) vocalization at the opening of An American in Paris which explains and justifies his presence in post-WWII France. Just as actors go to New York for the theatre or Hollywood for movies, painters go to Paris to test their skill and success in their craft. The Daily Dose clip sho
  6. First, let me say that when I see this dancing scene, like mijiyoon38, I want to see the entire movie again. "Moses Supposes" is such darn good fun to watch as Cosmos (O'Connor) and Don (Kelly) act like college freshmen who try to get the professor off topic with their antics at mimicking the straight man/professor and making goofy faces. "Let's see if we can break his concentration and make this boring lesson fun!" O'Connor has such a rubbery face which he can transform at will, and he goads the professor on to recite more linguistically complex phrases by applauding and encouraging "Wonder
  7. Miss Doris Day as an actress has not been given her due respect although very few, if any, denies her singing talent. I think that Ms. Day loved this role because the viewer can tell that she is having so much darn fun playing this rip-roarin', gun-totin' Western gal! YEH-HAH! One can tell she has a great athletic ability and to sing while doing acrobatic moves takes great concentration. I estimate that Doris did for the musicals what Katherine Hepburn did for dramatic roles--made it sexy and confident for a woman to wear slacks and still be attractive. Day portrays Calamity Jane as a tom
  8. The featured scene and the song "That's Entertainment" show a backstage view of performers collaborating and musically brainstorming for the sake of a successful production. This idea of unity is confirmed and supported by the lyrics: "The world is a stage; the stage is a world of entertainment." The concept of life being material for theatre and theatre being the platform for life is an old notion from Shakespeare's Winter's Tale where the characters discuss how art imitates nature and nature is reflected in art--the two parts blend together without a clear distinction of where one ends and
  9. The film Cabin in the Sky is a wonderful representation of the theme of second chances. Joe has an opportunity to see through a dream sequence what life would be like if he continued his gambling habit and how he would lose Petunia if he does not reform his addictive habits. It's a version of the Rip Van Winkle folktale with the addition of the angel and devil characters; it is the age-old struggle of good and evil personified by the General (Angel) and Lucifer, Jr. With redemption, Joe can begin a new lease on life with a "saved" soul. In this clip for the Daily Dose of Delight, Ethel
  10. Right from the first moment Dennis (Sinatra) exits the locker room, the viewer can sense by the lilting music matching his jaunty stride that the film is segueing into a musical number. Then Dennis and Shirley do a side-to-side sequence of steps to which the music emphasizes their "dance" with quick, bright strokes and advances to menacing, staccato notes as Dennis begins to run away from Shirley. The music speeds up as the pair runs up steps in the stadium and then across the bleachers. Here, the music syncs with the actions of the characters to indicate the pursuit of the woman and the fl
  11. My first impression of Judy Garland was as the doe-eyed Dorothy in The Wizard of OZ. I would watch the film every year it was broadcast on TV. Days after I saw it, I would relive the songs and scenes in my head. I watched it on TCM when the channel debuted and broadcast its jewels. I even saw the film on the big screen during an anniversary celebration. My family knows I am a Wizard of OZ fan, especially when I went to McDonald's to order Happy Meals for my kids so that I could get all of the mini Madame Alexander Wizard of Oz dolls. My husband bought me a collection of porcelain Madame
  12. The film Yankee Doodle Dandy is patriotic right from its title; viewers get a sense that it will be a reflection of American patriotism. George M. Cohan was known for its flag-waving lyrics and rhythms. The opening scene at the White House sets the context of duty, honor, and loyalty to country. For Cohan, it is an honor to meet FDR; it is an honor for the African American valet to meet Cohan; it is an honor for FDR to meet his "double," Cohan, who does as much in the theatre to promote American values as FDR does through his form of "theatre," his radio fireside chats. Overall, a sense of
  13. Ginger Rogers often noted that she did everything Fred Astaire did but backward and in heels. Although in this scene, Rogers is not wearing heels or dancing backward much, the idea that she can match and challenge Fred in any step is the essence of this battle of the sexes. At this time when some women were seeking divorces from unsatisfying marriages, this dance sequence shows that Rogers will not settle to less than an equal to her partner Astaire. Their dancing is a tete-a-tete--sometimes Astaire leads and other times Rogers leads; no person has more authority than the other. They do br
  14. The Lubitsch touch is in the details of the garter, the woman's purse, the gun that is used along with the drawer full of other guns, and the close-ups of Alfred, the woman, and her husband. Yet, it is the short strokes of sound from the violin as the husband picks up the gun and approaches Alfred that brings a tension that is negated when Alfred is shot, but then he raises his shoulders and tilts his head from side to side and smiles that really show Lubitsch's use of irony. Then the camera pans to the wife lifted up on her elbows with her head tilted in boredom. The comedy of the situatio
  15. I remember watching Rose Marie with my older sister. I loved Jeanette MacDonald wide, expressive eyes, Nelson Eddy's deep voice, and the banter of their looks and conversation. Their characters do show restraint in their attraction to each other, and that restraint holds the audience in anticipation as to whether they will end up together romantically. The operatic delivery of song may seem respectable, but one must remember that operas like Carmen are very passionate' the voice can express a great yearning for love. Nelson and MacDonald's rapport is charming and their facial expressions s
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