Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

Bluboo

Members
  • Content Count

    23
  • Joined

  • Last visited

About Bluboo

  • Rank
    Member
  • Birthday 02/09/1956

Profile Information

  • Gender
    Male
  • Location
    Albuquerque, NM
  1. 1. How does the spoof style of Ferrell and McKay differ from or compare to the styles of Woody Allen, Mel Brooks, or the team of ZAZ? Be specific. I think that Ferrell and McKay are closer to to ZAZ and different from Allen and Brooks. Allen's films a re closer to being farces where his like able character always seems to be in outrageous circumstances. Brooks seems to create identiable characters that are placed into the progression of a plot ... Some characters are a little unusual or stereotyped (Lily Von ****. Mongo, I-Gor, and The Inspector), but they fit the plot. Like ZAZ, the chara
  2. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples. With very few exceptions, one scene after another is a new gag with little or no set-up.everything that Neilsen does is a parody of the straight-laced detectives (especially Sgt Joe Friday). Neilsen is forever hitting other cars, garbage pails, or other obstacles. When his own car "attacks" him, he shoots and blows it up. The crime lab becomes a spoof of James Bond and Q. The gags, verbal and physical, just keep coming and coming. 2. How is ZAZ's approach to spoofing similar
  3. I am not so sure that I agree that spoofs and parodies are a thinking man's slapstick. My opinion about spoofs and parodies is that it is fairly easy to take a film done by another director and use it As the basis for a send-up. If you can find a successful, popular film like Airport, The Exorcist, Top Gun, or Halloween, it is pretty easy to turn it into a comedy. However, it does take a genius like Mel Brooks or the Zuckers & Abrams team to do a masterful job with the comedy.
  4. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. I saw so many horror films when I was growing up in the 1960s because we watched CHILLER THEATER as a family every Saturday night. Gene Wilder brings life to the intellectual scientist, the man of strong conviction that will undergo a radical change. Wilder changes the pronunciation of one of the most famous names in horror films. We have the clean lecture hall and the "wise guy" student who pushes Wilder's buttons. Rather than do a simple demonstration, he inflicts the most painful punishm
  5. 1. I am trying to keep my answer simple because I fear a book could be written. The evidence of parody is overwhelming, much of it not to be lost on this boy from New York City. The scenes with Howard Cosell and the beginning and the end are wonderful parodies of Cosell himself; the scenes are classics and well done. The entire deli scene is a parody of the old New York Jewish deli, conveniently located in the jungle, and authentic right to to the white-jacketed delivery men. When we saw this movie in the theater when I was young, my mother lost it when Allen shows shows up for dinner with th
  6. 1. I think what captured me most was that it had the look of a newsreel but actors that were more like cartoon charactatures. Tony Curtis had the good guy look of Peter Perfect or Dudley Do-Right, Peter Falk and Jack Lemmon looked like Snidley Whiplash or Dick Dastardly. The action was so reminiscent of Wile E. Coyote and The Roadrunner ... the arrow and its launcher looked like something straight from the Acme catalogue. 2. I observed that the characters were costumed and dressed as the stereotyped portrayals of good versus evil. Moreover, it all fit the definition of slapstick that we
  7. 1. Like others, my favorite gag in this clip was Clouseau ripping the rely on the pool table. We have the physical set-up of the wealthy house, a well-dressed Clouseau, and M. Ballon in a tuxedo. Earlier in the scene, Clouseau tried desperately to hit the cue ball with the curved stick, to no avail. What made the scene hysterical is that we see Clouseau turn the stick so that the curve arcs downward, but then the camera moves to the upper portion of Clouseau. We hear the felt tear, much like the sound of pants ripping, and then we see Clouseau trying to mend the felt. I thought that just hear
  8. 1. The primary benefit of color in this scene is that it adds brightness and detail. Visual planning most often uses bright sets for comedy and dark sets for drama. I found it easy to experience the depth and coziness of the surroundings, and that became vey important when Lucy tried to get into bed. The color also offset that it was a dark and rainy night, a scenario much more suited to melodrama. Watching them at the table was funnier because we weren't as aware of the storm until Nicky said he was worried about getting the trailer out in the morning. 2. The first thing that caught my
  9. Thank you for posting this, Robinlee, because I was feeling a little guilty about not enjoying this selection. I tried watching the movie and gave up after an hour. It was mildly humorous but not slapstick by the definition we learned. I do agree with seeing the patterns in Hurlot's life, the repetitious routine and the almost mechanical response by Hurlot'. He is gentle and kind, and he loves children. He seems odd in his physical presence, a bit too tall yet pleasantly graceful. The building's design is definitely eccentric, matching the eccentricity of Hurlot. The path to his apartment
  10. I also am a huge fan of cameos, and I will try not to repeat the excellent observations already made. The one TV show that mastered cameos was Police Squad, as the guest star was killed during the opening credits. Laugh-in had outrageous cameos including Richard Nixon saying, "Sock it to me!" Also coming to mind are Dom Deluise in "Blazing Saddles", Ethel Merman in "Airplane", and Burt Reynolds (also Paul Newman and Anne Bancroft) in "Silent Movie". Cameos add a famous and usually well-liked personality to the cast, and adds to the enjoyment of the film.
  11. Having done some directing and stage management in college, I enjoyed the breakdown. Vertical and horizontal lines are important, and we see levels also play a role. In some ways, this is a unique version of cramming a phone both or clowns in a car. In this case, it is a stateroom that overflows when Margaret Dumont opens the door. The verbal banter by Groucho, inviting more people in, builds up to the physical overflow at the end.
  12. An important element in these three clips is familiarity. Even today, Babe Ruth is a common name, and the "crazy driving" routine is a common gag. Baseball is America's pastime, so it is a good backdrop for comedy. The actors in all the gags played their roles to the fullest, and they were amusing.
  13. 1. In comparing Abbott and Costello with Chico and Groucho, both teams rely on impeccable timing, rapid delivery, and standard roles (Bud and Groucho were always the bosses). However, Groucho and Chico always looked the same in every picture, but Bud and Lou used costumes to suit their roles. Groucho and Chico relied on accents, but Bud and Lou did not. Conversations between Groucho and Chico always were a bit absurd, whereas Bud and Lou were more down to earth; the best work by Bud and Lou were often a play on words, double entendres, and non sequiturs. Their best bits could stand alone outs
  14. 1. The one thing I noted about W.C. Fields is that he has a great many conversations with himself. The verbal banter between Chico and Groucho might have an aside by Groucho, but their conversations always built to a climax. Charlie Chase was a complainer and would direct his comments of exasperation at most anyone. Fields had a wonderful touch of sarcasm and pseudo-intellectualism in his comments, whether talking to himself or addressing his adversaries. As we saw in the clip, his family members were his primary adversaries, and there was a bite in every sentence. 2. Fields was a genius
  15. 1. This clip is not the best of the Marx Brothers verbal slapstick, but it does fulfill Alan Dale's definition. It carries the asides, the accents, the rapid pace, the twisting of meanings ... and it ends with a trademark pun by Chico. When you view some of the more outrageous Marx Brothers dialogue from "Duck Soup", "The Coconuts", and "Horsefeathers", you can truly see that Groucho and Chico were masters of verbal slapstick. 2. Chico was best known for his Italian accent, which was omnipresent in his movies. Chico's laugh was a combination of humorous and mocking, and he was the perfec
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...