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Everything posted by judith46

  1. AHHH! One of the most perfect moments in musical film. I tear up every time I hear her sing this, even with just audio! The reason for that is the quality of expression and inflection in her interpretation of the song. She moves from a very self-conscious, flat tone at the beginning, to a mellow, thoughtful middle, and on to a full-throated, confident end. This cabaret style singing it what Streisand does best, and I can't even imagine anyone else producing this touching moment. Streisand's performance is enhanced by the lighting, which is dark, lamp-lit. She is highlighted on her f
  2. As in Gaslight, Cukor uses low -lighted interiors to enhance the feeling of isolation and depression. We see the same uncertainty of self in the female characters, as they try to hang on to stability. Note how in both films, the women face away from the antagonist, not making eye contact. Loss of control is exhibited, as well as self-willing back to control. The males in both films seek to subdue both the mind and body of the female character, and to distance himself from any emotion. The emotional transitions are supported by the furnishings of the set, providing places to hold on to
  3. These clips are not loading very well for me today, and my only experience of Preston has been his Music Man performance. But, it seems in these two performances we have one instance of the character trying to hide his real intentions (Music Man) and the other in which he is not hiding them (Victor Victoria). I am making it a point to view some of his other performances and look forward to seeing Victor Victoria.
  4. Yes, Fantasia is perfecto! I used it as a teaching tool when I taught art, and I have the pony, the alligator, and the hippo ceramic figures. Favorite musical numbers in general: Colors of the Wind from Pocahontas, and Bella Noche from Lady and the Tramp.
  5. We see a nod back to the classic musicals in the importance of vaudeville as setting, the struggle to make a name for oneself, and the beginning of the story with childhood. I believe that this clip also foreshadows the breakdown in respect for perceived authority, the willingness to work outside the normal channels. Mamma is getting around the "fixed" outcome of the talent contest by sheer determination and daring to challenge the system. The entrance of Roz Russell as Mama here is abrupt and uncompromising. She selfishly takes center stage and upstages her own children. You can tell
  6. I think the fantasy ballet at the end of American in Paris is just that, a fantasy. Therefore, it can stand alone because it is "imaginary", outside of "real life". The Jerry Mulligan character is endearing because we can see his vulnerability below the gruff surface. Kelly portrays this through his facial expression as he looks hopefully on while Milo views his work, and through his body language as he folds his arms defensively and tries to look nonchalant.
  7. Just an additional note: I don't equate the qualities of the professor (eccentric, intellectual, reticent, etc. are some of the replies) as feminine qualities per se. They just aren't as alpha male.
  8. The pre-dance words and taps are like a conductor's counted bar before the downbeat; it establishes the time and rhythm used throughout the number. How DOES the professor keep his demeanor? Seeing O'Connor's mime behind him and still he keeps his countenance? I could never do it! The masculinity model here is unity, each one echoing the other in time and step. There is a friendly "banter" and competition through rhythm. It is the "buddy system" personified in music.
  9. In this film, Day's character is outside the accepted female norm; she is allowed to show both sides of her nature. The active, more aggressive side is dominant early in the film, then she tries to adopt the more passive role, in which she fails. Finally, she seems to resolve the conflict by allowing one side to temper the other, thus becoming more balanced. This contrasts to some of earlier work, like Tea For Two, My Dream is Yours, etc. in which she is cast in the more traditional feminine role. Her later work evolves into smart, feisty, but feminine women who are up against a male-domin
  10. The characters in the Band Wagon work as a unit, rather than as a star with supporting cast. We see that in the way they solicitously pick Astaire up off the floor, and how their hand and finger extensions all echo and support the others in the group. They stay together as a tight unit as they dance, even if individual moves are different. They listen attentively to each other. Their costumes seem to have unity in the semi-formality of dress, yet there are two patterned outfits and two plain-colored, and they are positioned in a balanced way, either together or every-other slot. Astaire
  11. The scene shows the intensity of the relationship between the couple as she goes from frantic at the beginning to more tenderness, forgiveness, and thankfulness toward the end. She goes about her daily chores, but her mind is always on her man. If this were a parent/child relationship she would probably not leave the bedside and would exhibit more protectiveness, worry. This movie captures more of real life people of color rather than racial stereotypes. As the war went on, and more black Americans were sent "over there", films had to do a little catch-up culturally. For the first
  12. Battle of the sexes evident in Top Hat include, of course, the competition between the pair. Besides that, we have a female character who is not simpering and waiting for the male to act, but being a strong person in her own right. We see the push-pull interaction of two confident people who are getting to know one another; they each try out an action and wait to see if it is accepted by the other. This film also allows Rogers to wear pants, so we can really zero in on her dance steps without being distracted by all that chiffon! The film differs from earlier Depression era fare in mor
  13. Lubitsch touches include attention to detail of the accessories: cane, hankies, etc. and the photos of the dressing table. The dialogue makes use of asides to the audience, dark humor in the situation, and sexy undertones. The husband thinks he is killing his wife's lover only to discover the gun doesn't work. I liked the drawer full of guns for all occasions, and the gigolo having to zip the dress because the bumbling husband couldn't do it! In the sound department, I notice a few important sounds such as gunshot, steps, etc., but was really most aware of the silence between scenes
  14. There is interaction in the tension shown in the banter in the first clip; she likes him but doesn't wish to show it. He needles her about her love interest and that sets up the song, "Rose Marie". In the second clip, he perceives her as a "good" girl and rushes to her aid. My perception of Eddy and MacDonald was rather negative when I was a young girl. They seemed from a time that many of us no longer wanted to embrace. From a mature perspective, though, I find them charming and very natural in their films. The music is beautiful! The male/female relationship is always above b
  15. The clip shows a bright perspective by: the generosity of the tip in such a deprived economy, the playful song, the frilly dress, the jocular rivalry between the men, and the abundance of flowers. If the play had been pre-code, no doubt we would see a more vampy version of the song "come play with me". A look back at the Mae West films will fill you in on that! As for future themes, I suppose the use of friendly rivalries, romantic flirtation?
  16. Present-day collaborators for Hitch might include: Julie Taymor, set designer. She does mostly stage production, but her imaginative use of puppets and scenic design would please him, I think. I recently went back and looked at the scene in Saboteur where they are searching the circus train after learning that they used cut-out figures with tiny flashlights! That is the kind of thing Taymor would think of. Shondra Rimes, TV writer-producer is an expert in plot twists and turns The Ephron sisters, screen writers, directors had an edgy, humorous approach to relationships. (When H
  17. I've mentioned this one in an earlier post: The Net, starring Sandra Bullock. It has the wronged protagonist, the double chase, and it has obvious homage elements to Notorious. In one scene a scarf over the midriff is used, and the villain's name is Devlin. Someone else mentioned the Murder She Wrote homage "South by Southwest". I was watching a Martin Scorcese film last week and remember thinking "how Hitchcock" but now I can't remember the film! This happens a lot. Body Heat had the look and feel of a Hitchcock noire.
  18. As in The Lodger, we are led unsuspecting into the scene and then confronted with a murder. In Frenzy, though, the victim is not so personalized, is almost an attraction for the crowd. The Hitchcock touches I see are the POV, moving shots approaching from afar, moving in and through the scene; the use of landmarks, and a crowd engaged in a non-dangerous activity. Also, the sudden turn of events. One of the purposes of the opening is to set the location. Another is to contrast the serene backdrop with unfolding events The music here sets a majestic, almost pompous tone, lulling us
  19. The pet shop scene with Taylor and Hedren has a lot of banter and keeping up a ruse. Hedren pretends to be the proprietor and leads Taylor on, and then Taylor figures it out and starts leading her on. We are shown that these are two smart, equally matched people. There is a bit of dialog where they touch on the morality of locking up birds in cages, but neither seem to be much bothered by it. The sound design leads us in with the distant call of seagulls, so we know we are near the coast. There is city street noise mixed in also. Then we cut to a flocking of gulls and they are screami
  20. The title design in Psycho makes you feel as though you are peeking through blinds, with the distortion and partial vision that incurs. The words come in with opposing directional lines, increasing unease. The furtive string music adds to the feeling of danger and adds a rhythm of telegraphy, like a news room. The specific date that keeps repeating reinforces that feeling that we are getting a news flash. The entry through the window blind is similar to Rear Window in its intimacy, but this is more secretive. Leigh's character is established as the central one in the way she dominat
  21. The clip just wont play for me, so this is from memory. The characters here seem very close to our public perceptions of the stars themselves: sophisticated, cool, and sexy. They are equal in status and sure of themselves. The matchbook gives them something to do with their hands; first he fiddles with it, explains it, and then it is used to express sensuality in the connection of their hands while lighting cigarettes. Remember the lighting of cigarettes in Now Voyager? A lot said in a few expressive movements. The way the camera focuses on the ROT matchbook alerts us to its future
  22. What will the film be about? The zoom in to parts of a woman's face, not a whole face, suggests fragmentation. The spirals and sound suggest hypnosis or psychosis. The eyes appear to express fear of being pursued. It is about a woman who is more than meets the eye. The single most powerful image in the opening for me is the zoom into the eye with red background. Besides the dangerous red, there is an outward spiral like a psychological explosion. At the end of the clip we come back into this eye with the inward spiral. Hard to imagine the images without the score and vice versa.
  23. The opening camera shots in the film provide a good bit of information. We go outward from an open window into a world in microcosm; the courtyard is full of slices of life. We are taken back to Jeff and are shown he is disabled, so we understand him as a part of the scene, but forced to be. We are shown his photos so we know his profession; note the image of Lisa is both in negative and positive form. We are given a hint that there are conflicts in his life and he is in limbo at the moment, trapped. The views of other people seem merely curious at first, just something we note in pas
  24. The idea of "crisscross" is displayed in the tracks crossing, diverging and merging in various paths. We also see two men from different walks of life. One character is an affluent tennis star (as displayed in his spectator shoes, trousers) and one just the average guy with mundane shoes. They are arriving by cab and private car, one has apparently a valet to carry his bags. As we travel upward to their faces, one is open and gregarious while the other is reserved, not inviting of conversation. Tiomkin's score is swirling, undefined, and troubling. We can't get a firm sense of moo
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