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Ihopetheresice

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About Ihopetheresice

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  1. According to TCM’s twitter they will not be offering a course this year. It would appear the sci-fi lineup in July is just a themed selection for the month. I’ve attached the link where TCM replies to someone about it. https://twitter.com/tcm/status/1131225881161216000?s=21
  2. Would it seem ridiculous to request sharing information to access the course? I don't know what harm it could cause other than someone perhaps sabotaging later film class which I would hope sounds ridiculous. I would love to comb through the material almost as if auditing the class. I love film noir and of course I've been able to take every class but the noir one. I would be willing to swap info through direct message for someone who perhaps missed one of the other classes but was able to take the noir one.
  3. I feel like it has already been established within the curator's notes on this scene, but if Streisand were to belt out this performance it would lose the emotionally vulnerability her character should be displaying. If she were to go "full Barbara" on this song, it would seem less a confession and instead would seem as if her character was acting a part as in her stage performances. One thing I did notice, for a song that is about one character's desire for another character (or any person for that matter) Streisand spends a great amount of time not even addressing Sharif's chara
  4. One of the most prominent changes in male representation and performance has to be the evolution of method acting/workshopping. Prior to this time, when a person is watching a Fred Astaire or Gene Kelly film they are watching Astaire and Kelly playing the character as Astaire and Kelly with the same wonderful characteristics. Here we have an actor who inhabits the character completely so as to lose himself in the role. Also of note is the delivery of the song in The Music Man. Preston delivers the song as a sermon to the townspeople, rattling off the lines as if they are an Americana version o
  5. This scene from Gypsy harkens back to the the backstage musicals of the 1930's in that it shows the inner workings of a show and one can already tell it will be the tale of a star and a stage of some sort. Although after reading the lecture notes (stripper character and double entendres), it is clear that this film will contain a subject that will skirt the confines of the production code. I should preface this statement by noting that I have neither seen Merman's portrayal of Mama Rose or Russell's (outside of this small scene). In my opinion, Rosalind Russell here seems to be playing th
  6. A movie is not required to maintain a similar approach throughout the entirety of the film and in An American in Paris I believe the stylized scene does well to portray the fantasy as it is intended. The break in style and form allows the audience to identify it as just that...a break in reality. Jerry Mulligan's character rises above being loathsome partly because he is simply played by Gene Kelly. Although, I would also have to argue that he doesn't seem unlikeable due to the everyman quality of Mulligan (at least in this scene). He is cordial, but not overly friendly to his fel
  7. Gene Kelly's movements and mannerisms have been previously covered in the lectures and videos before this point and I think his pre-dance movements in this iconic scene are no different. He has an athletically musical mannerism in and out of dance that I think is equally highlighted in this scene without being over the top. On the other hand, O'Connor's mannerisms are indeed over the top and work to establish him as the more flamboyant of the two. Because of this, the segue into the song and dance seems fluid and not out of the ordinary and the viewer doesn't feel any sense of disruption prese
  8. The viewer notices the interplay of the characters, each offering their own insight into what makes "entertainment." They play off one another's ideas as well as movements. This scene differs from earlier musicals in that, instead of featuring a solo dance number or a duo either dancing in-step or step-for-step, the characters dance cohesively, weaving in and out of each other or all in line as an ensemble. I would say that their costuming, albeit different from one another, does not help one stand out from the rest of the ensemble. Even Astaire suit, while fashionable, is not fla
  9. To me, the transition from Petunia being at Joe's bedside to her at the clothesline shows her happiness in domesticity. All she longs for is a happy home with a trustworthy and respectable husband. To her, this is of the utmost importance to her self-worth. Happiness is not only Joe, but what a life with a faithful husband represents to Petunia. If this number were to have been about a child I believe it would've been more relatable or perhaps would have held up a little better with today's sensibilities. Instead, it seems a bit dated in its portrayal of a woman needing a man in order to
  10. Admittedly, I am a bit of a novice when it comes to the musical genre. Like almost everyone else, my first experience with Judy Garland was The Wizard of Oz as a child and as one can imagine it would be years before I experienced anything else with her in it. Sadly, the number of years is almost embarrassing, but when I did finally see her in something other than Oz it was her triumphant return in A Star is Born. I was decently oblivious to the tumultuous happenings in her life and career and was taken aback by how old she appeared at only 32 years old. As a result, I fell down the rabbit hole
  11. From the few comments I read it would seem that a strong number of people argue that this scene doesn't present a battle of the sexes. While I am not ready to agree with that point, the battle is very subtle and miniscule. To me, it appears as mimicry on Rogers' part in the early stages of the dance and progresses to even the slightest of tap additions on Ginger's as they are walking away from the camera. Also, if you look at Roger's eyes they are sizing Astaire's character up for size and the battle is engaged by the fact that he appears to be sizing up not only her beauty but her talent.
  12. The props do well to give insight into Count Renard's character. For instance, upon discovering that the gun the woman has used to "kill herself" is a fake, Renard quickly stashes it in a drawer containing a multitude of other guns, alluding to the fact that this has happened to him a number of times. Furthermore, when discussing how the government cannot continue to support his sexual behavior, Renard argues that he is not a lothario at all while brandishing a woman's garter in his hand. The staging further enhances this by showing how easily Renard can zip/unzip a woman's dress, while the hu
  13. The interaction between Sgt. Bruce and Marie seems to flip in the two scenes. In the canoe scene, Marie is initially seen as disinterested in Bruce's advances, but seems to soften towards him when he is serenading her before realizing how interchangeable her name is with any number of other girls. Later, in the saloon while Marie is singing, she is embarrassed by the fact that she has "cheapened" herself by singing for money in such a place, but Sgt. Bruce seems to be embarrassed for her much like one would be embarrassed if the object of their affection found themselves in such a embarrassing
  14. I would have to say that this film, or at least the clip shown in Monday's lesson, does present a brighter perspective considering it was during the Depression era. For instance, money does not seem to be on the mind of many of the performers, even despite the running subject of Ziegfeld constantly needing financiers to back his projects. Instead when the doorman informs Ziegfeld that he handed him a greater amount of currency than the doorman expected, there is the pun about weight but also the frivolity with which Ziegfeld handles his money despite the times. As for overarching
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