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Everything posted by MrZerep

  1. Had she been theatrical in all the songs she may have not won the Oscar. It's a tender moment in the film and she doesn't have to "sing out" to the last row of the balcony. Simplicity can sometimes be more in a performance. As the song starts she is walking away and towards the stairs of the next building. She climbs the stairs as if stating she will succeed in showbiz and maybe love. The way she sings the lyric "Lovers are very special people..." Note that the word "lovers" is sung low- as if she's embarrassed to relate to Nick in that way. They're still getting to know each ot
  2. The emotional transitions are given adequate screen time for us to enjoy/partake in the given emotion. Eliza's heartfelt cry- one could feel her pain and feel she's been used for the bet. Her wonderful "No!" and then a quiet, polite "thank you" pure genius. I think through Mr. Cukor's direction both Eliza and Higgins really care about each other. She is scared about what is going to happen to her with her new "education" and Higgins seems to be nonplussed about the situation.
  3. Not much alpha-male dominance but a refined alpha male. Thinking about the words snd how they are going to affect the people around. And is performance as Toddy, a gay male, is not the stereo-typical flamboyant queen that is often the case in many films. He's a gentleman always. Suave, sophisticated in his dealings either as a salesman or "queen." Back in the 80s he was in a sci-fi film THE LAST STRAIGHTER as Centauri, an alien agent in search of a star fighter via the video game he invented. His performance, as I remember, was wonderful. Comedic and fast talking- sort of
  4. It hearkens to the backstage musicals of the late 20s and early 30s...it's an audition, but not adults. It's children and this was the time when Shirley Temple (and wannabes) came from. It also foreshadows the end of Vaudeville/Burlesque as forms of popular entertainment. On film it's (to me at least) the entrance of the star and she tells us she's going to be loud and push- the ultimate stage mother. Miss Russell probably enjoyed this role and wanted to make it her own, as she was probably compared to Ethel Merman. Here timing is wonderful, a holdover from her stint as Auntie Mame.
  5. The ballet sequence is a fantasy, as if a painter would have designed the "mise-en-scene." Colors and shapes are exaggerated as opposed to the real-life settings of Paris. His interaction with the 3rd year student has probably been a type of encounter he has had in his stay in Paris. He could care less about their opinions and sees them as just "sophisticated" college girls trying to impress him. His interaction with Milo is a tad more gentlemanly. She perhaps is his equal intellectually and they could carry on a conversation. She does show an interest in two of his paintings and
  6. The pre-dance movements are a great arm-up to the actual dance. "Moses supposes" is enunciated almost choreographically, perfectly as it is about learning to enunciate. There's a pattern to the dialogue learning so let's bring it to a climax with a fantastic routine! Ah, the straight man. Oh, the poor professor must endure silliness in order to get this lesson to be a success. He never really smiles or reacts, just becomes a part of the dance which makes the routine even funnier. Gene Kelly's masculinity is the alpha male- leader of the group. Donald O'Connor is a follow
  7. The character of Calamity Jane is the breakout woman- tough enough to challenge a man and feminine enough to get a man She is a product of the "wild" frontier and perhaps was not content with silly girlish things- her world was surrounded by men who could be strong figures for her to admire. Yet she has some femininity in her to help her survive the frontier a a loving, nurturing woman. This film is perhaps her defining moment in film musical history. It's a comic, serious, challenging role that made everyone notice that Doris Day = box office bonanza. Her films post-Calamity involved
  8. The idea that theatre is a community and all work together is exemplified in this song. They need each other in order to portray or give the world "entertainment." This scene is more of a collaborative effort as opposed to a couple or single dancer/singer. The costumes are simple- nothing outlandish or too, too colorful. Simplicity sometimes is better than spectacle; the really colorful outfits are for the productions for the show they are going to do. Everything they do blends into each other's action- a reaction to what one starts. There's great continuity in the things they
  9. What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? Petunia starts the song at Joe's bedside as she is relieved to know he is alive and on the mend. The angel disappears as if to say all will be well; we cut to the hanging laundry and we see Joe in a wheelchair enjoying life and his wife. She repeats his name and thus we see how in love she is with her man. How would the song change if it was a woman singing about her child
  10. Thinking like a director and editor, describe how each shot spotlights key actions. As we read in the intro the director is the "author" of the work and all his ideas come into play in such a scene for it to be enjoyed, frowned upon or lead to serious thought or serious confusion. The whole team, along with the director, is responsible for making these scene a success. From the start where Betty Garrett is chasing Frank Sinatra- that's the thesis...woman chasing man and the whole scene is her trying to convince him she's the one or him. The conclusion is wonderfully illustrated by him
  11. 1.What was the first Judy Garland film you recall watching? What was your impression of her? I think for a lot of people my age it was THE WIZARD OF OZ. I was in 1st grade and remember seeing it on a black and white TV (and if I'm not mistaken, Danny Kaye was the host). Didn't really think much of her at the time as the wicked witch was terrifying. When we got a color TV, boy did that change my view of the film forever. When the film goes into glorious color I felt like a child again. Judy Garland looked so beautiful in her dress and her voice always impressed me. 2.How do you v
  12. 1. The opening scene sets the tone...truly a salute to the United States. The conversation with the butler's White House experiences mentioning "You're A Grand Old Flag"- making Mr. Cohan feel comfortable before his meeting with FDR. The portraits hanging on the wall of the stairway and inside the Oval Office- pure Americana. The ships in the oval office are perhaps a salute to the naval fleet that was lost at Pearl Harbor. The parade was wonderful and allowed me shed a tear reminding me of my elementary school days where we were taught "for God and country." 2. Butler: (referring to
  13. Ginger Rogers' character is not going to let a man woo her the old fashioned way. She want to see what he can offer and she demonstrates she is just as proficient as he. It's a friendly battle where dance is the ultimate winner. Almost a mating dance of sorts, but the handshake at the end tells us it was all fun, no harm and their friendship/relationship will go on. The female lead is more confident in that she "dares" copy her dance partner. The fact of the simplicity of costuming shows they are one of us enjoying life. Nothing, not even the weather is going to stop them. The e
  14. Alfred is a "Don Juan," isn't he? Paulette and him arguing, the other garter that appears and the entrance of the husband! Paulette decides to kill herself and the husband want to rid the world of Alfred, alas...blanks! The brief scene of the drawer with pistols from other lovers. And when the ambassador enters and relates that this is the last scandal, we can only imagine the life he has led and will lead. The use of music before the husband shoots Alfred adds to a buildup; this was clever. The sounds of crowds or people on the other side of a closed door helps in the tenseness of t
  15. In the first clip JM seems to be playing "hard to get." She seems to enjoy his singing and reacts to the lyrics with delight. He is attracted and sings his spur-of-the-moment song only to be found out he uses other names and is a convenience tool to woo women. The second scene has JM trying to sing in a bawdy establishment. She tries her best performing in her style the songs given to her. When NE enters she is embarrassed or ashamed to be caught there. Of course at his table are two women (could one of them be "Maude?"). He likes seeing JM perform and seems to be be entranced more with
  16. The song we heard is a light, frothy fun excursion into flirting with her audience. They are well dressed and completely opposite of what the Depression meant, thus creating an escape for the movie going public. It's as if a small percentage of the population escaped the Depression and could afford a night on the town. Perhaps one of "will I get a job?" or "how can I get ahead in life- who will offer me the best offer?" There's the rivalry between producers that will offer the performers a chance, only the performers had better choose wisely or suffer a consequence (such as losing a jo
  17. The spoof style of Ferrell and McKay seem to be more violent...really over-exaggerated than Allen, Brooks or ZAZ. As I watched it it also spoofed the musical West Side Story's rumble scene. One news anchor had a switch blade. The brawl ends with the police siren and Ben Stiller yelling "Policia!" and they all scatter, just as the Jets and Sharks in WSS. It's literally anything goes. Oh, and when Ron Burgundy says "no touching of face or hair," well- I swear I saw some faces get smacked and one news anchor ablaze! The cameos make the scene interesting in that a favorite comedian/actor
  18. ZAZ's approach reminds me of a three ring circus- so much going on, where should I focus? The car gag...one air bag goes off and releases the gear lever and it becomes a runaway car to the point 4 air bags pop open and seems to drive itself making a right turn and no one in pursuit. The screaming voices on the soundtrack add to the visual mayhem. Later, after the anti-graffitti wall demonstration (which was priceless) Drebin looks into the microscope until he's told to use the open eye. We hear the professor explaining about fibers and yet we're watching Drebin lower the microscope lens un
  19. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. The use of black and white film; the scene set in a university class with students listening to a professor lecture and the dialogue is reminiscent of the almost scientific babble used to explain things. They make or try to make sense, sort of. ​Gene Wilder is very serious in thous scene in his lecture. To prove his points he experiments with the little old man and he is serious about it. It turns into broad slapstick humor when removes the metal clamp and the old man is in pain. Also,
  20. The "Breakdowns of a Gag" lessons are awesome. In 6-8 minutes we're treated to funny scenes and great comments and what to look for by Vince and the good Doctor. As they stated that people even today and in the future will laugh at Charlie Chaplin slipping on a banana peel. I guess it's human nature to see some form of humor in a slapstick situation. There is an innocence in the slapstick of the silent era to the early 60s; as the world changed in the 60s, so did our choices of how and why to laugh. No longer would silly situations be sufficient, but spoofing the past and creating outra
  21. After watching all the previous forms of slapstick, verbal and physical, this is probably the most cerebral example. There is something about Woody Allen that, for me at least, takes a while to warm up to. The slapstick is there in the choosing of the short stick wherein the leader of the rebels hands it to Allen. The restaurant owner doesn't really get outraged with the food order as he writes down what may be his biggest take out order to date! Parody? The exaggeration is there in homage to the great slapstick of yesteryear and Woody Allen's expression and demeanor remind me a tad of Bu
  22. Many of us in this course have seen the Three Stooges thanks to television, whether it was on the weekends or after school. The trio used many of their gags over and over in different situations, so it was a natural to bring those gags into their 1st feature film. The sound effects add to the pain. Many do not like the antics because they are violent and look painful, but we got to know that if we attempted those gags we'd get hurt and could not go "into the next scene" unscathed. The amazing pie fight from The Great Race looks like a Three Stooges idea of heaven. And to have it in col
  23. From the moment we meet the hero with his dashing looks and the literal sparkle in his smile to the entrance of the villains in the bush...we can tell it's going to be a live action cartoon. The film itself is an homage to the great WB cartoons that involve a hero and a villain who gets paid back...Wiley E. Coyote and all his back firings. All that is missing is Muttley and his hilarious laugh when the villain's plans go wrong. I'm pretty sure it takes the best of all earlier slapstick routines and really, really exaggerated them. The villains getting smashed by the balloon; the hero ea
  24. The opening where he is telling the other inspector about the affair, Sellers is fidgeting with the stick to the point it is curved, then he takes his turn and rips the felt! Hilarious. Visual pun as, if I'm not mistaken by the billiard term, he "scratched" the table. He does it so nonchalantly and matter-of-factly. Genius! I see Clouseau as very inept, playful almost, but striving to be professional. The ineptness leads to the silly gags, but he tries to remedy the situation but it gets worse or more complicated. All done with a professional attitude the entire time. Inspector Cl
  25. The scene is an intimate one and the muted colors add to the intimacy, with the occasional lightning flash to add a bit of "excitement" to the lighting. Lucy's hair is not as vividly red as in full light or sunlight, but the trademark red is there. The set itself is tilted, since the trailer is stuck in the mud. That already is a set up to any slapstick gag that will ensue. The camera angles to me are medium shots. We are in a trailer that looks large on the outside but is really cramped on the inside. The dinner is sweet and you tend to forget where they are, sort of, until you reall
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