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Pjdamon

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Everything posted by Pjdamon

  1. 1. Even though both say they’re too busy for others, Streisand singing People say the exact opposite. The beginning is almost a hush I trying to get her feelings out. As she explains it further she is gently but with a gradually louder and more emotional voice. It rises to almost a fever pitch and shouting to the world her feelings. Then she ends it in a much lower voice, which one could imagine tears. 2. The scene begins with the two discussing how busy they are. They are close then as Streisand starts to sing she walks away from him. At that point she is center stage with Shariff eithe
  2. 1. As with others these are two of my favorite films. Actually My Fair Lady is in the top five of musicals. Cukor does a fantastic in both. In Gaslight I view it done in a Gothic story and a thriller. In My Fair Lady it shows the growth of Eliza from an uneducated lady to a refined woman. The sets were muted in Gas Light andcolorful/alive in My Fair Lady even in the racing scene with the majority of the actors in black and white it feels alive and exciting. Charles Boyer slowly drives Berman mad. The scenes are muted in color and action. 2. In My Fair Lady the scene is different is t
  3. 1. In the Music Man he is not overtly a mans man like we see in cowboy or war films. He’s a con man to get what he wants in a sneaky way that is obvious to the audience yet not to the other actors. In Victor/Victoria he is a gay man yet given the time that the movie was made it isn’t overtly obvious. You can see it through some of his actions but more from the statements and actions of the couple he speaks to once his has finished singing. 2. In the Music Man he easily pulls the crowd in to what his line. That when you can see the con man come out. As another person said he plays them li
  4. 1. It looks backwards throughout the history of movie musicals starting with the auditions in the 1929 musical Broadway Melody audition. It also looks backwards of the child stars of the are like Shirley Temple, Denna Durbin and Judy Garland. It also shows the pushy parent which has been described that many of the child stars had during that era. 2. Rowland Russell’s entries reminds me of her entrance in Auntie Mame. She is loud, takes over control of the staff and is a bit bossy but yet in a nice way. 3. The sound has double meaning here. When we first see it the child is doing c
  5. 1. I don’t think it needs a more realistic approach at the end of the film. Through the vivid colors, different scenes and the music it allows the viewer a overall view of Paris. The ballet is what Minnelli and Kelly interrupt for Gershwin’s American In Paris. Quite frankly to me this is the best part of the film. It doesn’t need in dialogue but you can feel what Gershwin meant with his music. 2. Jerry really isn’t an unlikeable guy. You can see that in his interaction with the other artists, the woman at the cafe and finally with the second woman viewing his work. He try’s to be that w
  6. 1. From the very beginning you can tell that O’Conner isn’t there for the lesson but more for adding comic relief. The way he looks back and forth between the professor and Kelly you can see how he’s there to have fun and break up the seriousness. Then when he starts in back of the professor to make faces steals the scene. With the phrase rhyming it leads into the dance part of the scene. 2. The professor is trying to do his lesson seriously. Even as he losing control due to O’Conner’s antics he continues to try. He finally gives up with Kelly joins in. The poor guys final insult is when
  7. 1. Jane was portrayed more as a tomboy than the traditional female actor or in real life at the time. She wears pants even during the second video that we viewed. I could and still do relate more to her character being a tomboy myself. The 50s was also a time after the war where women returned to the home full time and didn’t really deck work outside the home. Especially ones as exciting as what Jane represents in the Wild West. 2. I’ve seen the majority of her movies. She always seemed like the girl next door. Even with her playing a tomboy in the film shown here. She could play strong
  8. 1. The color of the outfits as well as the scene is mainly neutral. They all have equal time during the scene, even though they aren’t all on the screen at the same time. As alway Levant is the comic with his stunts, think of him carrying the ladder across the set. The one thing I notice not one of them dominated the scene. 2. None of the actors costumes stood out during the scene. The men were all in suits. Their suit coats were a little different in design but the color was still everyday business. Her dress wasn’t flashy or dressy. It looked like something that she could have bought a
  9. 1. Petunia is truly in love with her husband as seen in the scene. Not only is this shown through the song but by her actions. She is not only thrilled that he is alive but shows her love through her gentleness lying on the pillow next to him. When the scene moves to her taking down the laundry, Petunia wraps his shirt around her as if he is hugging her. 2. I envision the scene with a child would be similar to that of Little Joe. With the exception of maybe putting her head next to his and some of the words of the song. The similarity a child and Petuni’s love of Little Joe is that is un
  10. 1. I see it that Garrett is after Sinatra, much like we see when the role is opposite. It’s almost playful but you can tell that Sinatra what’s her to go away. It is also not what we were used to seeing in a musical with a lot of choreograph steps. But it actually fits the scene better with her chasing him through the ball park. 2. Here it is used to prepare Garrett for singing. At first it’s slow and deliberate and then it slowly speeds up to capture or nail Sinatra.
  11. 1. I remember seeing Athe Wizard of Oz on television before we had a color TV. I found her fastening and could really feel the meaning of Somewhere Over the Rainbow. I’ve probable watched it almost every year since because it shows how one can overcome almost everything if you have friends. And even though the majority of women in films in the 30s weren’t the strong type she was. She was a girl that could think her way through many situations in Oz. Yet remained a child. I will admit that I wasn’t fond of her later musicals but I did like her dramatic roles, such as the one in the Judgement at
  12. 1. As Cohen is being escorted to FDR the servent speaks of how he had seen him years earlier because Teddie Roosevelt had gotten him a seat in the balcony. The pictures on the stairway were of past presidents. The pictures in the office are of ships as well on FDR’s desk. Cohen kept glancing around to take it all in as a member of the public would in such a place. Also flags were everywhere. 2. Cohen spoke of how his parents were proud Irish American and his dad served in the Cival War. He had enter at the age of 13. 3. Knowing the time frame that that it was being filmed and re
  13. 1. I agree that not only but other films of the era presents a brighter and happier aspect of life. It was in a way for much of the country to escape the hardships of the Depression. 2. What I’ve seen in most of the Depreeion Era musicals is that it doesn’t show the hardships or struggles of daily life. The actors were typically gay and lighthearted. 3. If this was done pre-code the women would have been,scantily dressed, instead of fully clothed head to toe. There would have been more of Zeifields relationships outside of his marriages. An example is bathtub scene where you can
  14. 1. Two things come to mind with this segment. The first is Rogers reaction with Astaire begins to sing to her about his feelings. That wasn’t the typical reaction from the area of the women. The other was the change in the work the role of women especially in the work place. Rogers has her own career and is basically an equal to Asterire. 2. In this film the dance segment was just the 2 of them. In other films it was full theater production with more than the stars. 3. Shows what was happening in the real world where women left the house to help support the family. They were more
  15. 1. It has the Lubitsch touch in it. I found it more in the props and the facial expressions of Maurice Chevalier. It made light of the scene and pulled in the comic aspect of it. The props, especially the number of guns he had in the drawer, you knew he was a player. 2. It starts at the beginning of the scene with the 2 of them yelling on the other side of door. It continues when the husband and butler enter the room just as the wife points the gun at Chevalier. 3. The movies of the era were escapism from the issues and basic surviving. The comic/musicals allowed that to h
  16. For me it would be John Williams. His career spans from the 60s through today. And he has work not only in the movies but television and was the lead conductor for the Boston Pops for a number of years. A couple of years ago I saw the interview with Williams and Spielberg. They spoke a length about the collaboration between them. It was more than each working in their own world giving each other the special touch. Probably is most famous score was Fiddler On The Roof for score adaptation (he won an Oscar). Other non-Spielberg films include: The Poseidon Adventure Tom Sawyer Cinderella Li
  17. Mine are the older film but i can see how the Hitchcock touch inspired them. Crossfire with Robert Mitchum, Robert Ryan and Robert Young Act of Violence with Robert Ryan, Van Heflin and Janet Leigh Witness for the Procescution Shawshank Redemtion Double Imdemnity Manchuria Candidate And Then There Was None Diabolque A Touch of Larceny The Picture of Dorian Gray Twilight Zone
  18. 1. There are several differences between the Lodger and Frenzy. The Lodger opens on a street scene and a woman screaming. The music is dramatic to fit the scene. In Frenzy it's a panoramic view of London and a trip down the Thames. The music is majestic. It doesn't seem foreboding at this point. There is a crowd in both movies. In the Lodger it looks like they're at a food vendor. In Frenzy they're listening to a politician giving a speech about cleaning up the river. Three people notice the naked body in the river, but, no one screams. The Lodger is at night and Frenzy occurs during the day.
  19. 1. Marnie is a con artist is demonstrated by: a) the large amount of purchases, removing from the boxes and neatly folding them in a nice suitcase the multiple ids that she carries and swapping for a different one c) changing her hair color and style d) throwing the clothiers she had been wearing into a second suitcase e) leaving the suitcase with the used clothes' leaving it in a locker at the station and losing the key. 2. The music gives the air of mystery by following the repeated motions that Marnie is going through. It adds to the feeling to the viewer you know something's up but y
  20. 1. The opening scene between Mitch and Melanie is like many rom/com's. It's light and playful. It reminds me of the opening scene of a Penny Serenade with Cary Grant and Irene Dunne. In today's film Melanie tries to pull off that she knows about birds, but Mitch see through it almost immediately. There is a flirtation between them before the clip ends. It makes the viewer think they might be seeing a comedy and not a suspense/thriller. But little do they know. 2. Hitchcock typically uses music in the background during the opening scene. In this movie the sounds of the seagulls and the bir
  21. 1. Bass and Herrmann mesh the music and design perfectly in this film. Bass' lines represent prison bars, the slats of a half open window shade and ones mind on the brink of insanity and closing of the mind. Herrmann' music portrays a feeling of anxiety and anxiousness not only of the film but for the viewer. As the credits continue the lower pitched sound of the violins portray the villain and the higher pitched ones portray a woman screaming. The viewer doesn't know how, why or what direction the movie is going in but we know it will be thrilling. 2. The opening scene of the movie with
  22. 1. This is probably the best sex scene of the era. It's all said with facial expressions and their voices. Saint flirts coyly from the start. Grant being Grant flirts with style and humor. Through the dialogue they get the point across and past the censors. It's more the nonverbal queues that speaks louder than the spoken word. They were two of the biggest stars that could have actually pulled it off. Once again Hitchcock with his fine ability knew exactly what to look for within their personalities to pull the roles off. 2. By using the matchbook with R.O.T it focuses away from their fac
  23. 1. The visuals and the music draws the viewer in with almost a hypnotic feeling. It draws you in from the first with just Novak's chin and the credits of Stewart. The lettering isn't out of the ordinary but the music actuates to make the viewer notice. The music intensifys ash the camera moves up her face and becomes more intense as Novak and Hitchcock's naked is shown. Once the camera focuses on her eye and the spirals start it draws you in even further. With the music and the spirals it gives a hypnotic feeling and mystery. Not quite foreboding but you know that it has something to do with
  24. 1. The opening scene gives you all the sights and sounds of early morning in the city. The set and sound design could have been any neighborhood in a large city. I felt like I was standing there with my tea checking out the morning activity in the hood. Because it's hot everyone has their windows open so you can hear radios, kids fighting etc. The cat going up the stairs and the milkman walking toward the street giving it even more of a neighborhood feel. The music isn't exactly light but not dark of things to come. 2. As the camera pans to Jeff, you can see his smashed camera. One can
  25. 1. There are several references to the cris-cross during the opening scene. A. Traffic crosses each other during the opening credits. B. Bruno arrives in a cab with a black diamond and white lettering. Guy arrives in a cab with the diamond and lettering in reverse to Bruno's. C. The foot traffic entering the gate comes from different directions. D. Each enter the car from different directions. E. They sit across from each other. F. They both cross their legs. G. Bruno is a flashy dresser. This includes his tie tack with his name, the
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