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CHambyClassicFilm

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About CHambyClassicFilm

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  1. 1. Had Barbara Streisand performed "People" in "Funny Girl" (1968) by belting it out, it would be less emotional and it wouldn't have that significant Streisand "touch" to the song in William Wyler's film adaptation. 2. By taking another look at this iconic number, I think Barbara's characterization of Fanny Brice is trying to win the heart of Omar Sharif's characterization of Nick Arnstein of the film by being emotional while singing "People." 3. I think the pacing and blocking are perfect throughout the scene, with fluid camera movements. There are no distractions or jerky movemen
  2. 1. The settings of both Cukor films, "Gaslight" (1944) and "My Fair Lady" (1964) look similar, except "Gaslight" has more of a "Hitchcock-style" look to it (due in part to the black and white cinematography, as opposed to Technicolor cinematography). As both films are set in England, the difference between "Gaslight" and "My Fair Lady" is that the preceding film was set in the Victorian era, while the succeeding Cukor film was set in the Edwardian era. 2. The emphasis is focused on Audrey Hepburn's characterization of Eliza Doolittle rather than Rex Harrison's characterization of Henry H
  3. 1. Not sure how to quite put this, but I believe that the changes in male representation for both of Preston's roles in "The Music Man" (1962) and "Victor/Victoria" (1982) would be a mix of being carefree and foolish in a way. 2. I think Robert Preston's characterizations of Professor Harold Hill in "The Music Man" (1962) and Toddy in "Victor/Victoria" (1982) would be energetic and jovial; trying to interest the attention of the supporting characters in both productions and the audience in general. 3. Besides "The Music Man" (1962) and "Victor/Victoria" (1982), I have seen Robert
  4. 1. In terms of "backwards," the "kiddie talent show" auditions for Uncle Jocko/Herbie (Karl Malden) would be reminiscent of vaudeville performance acts of the vaudeville era. 2. I think Rosalind Russell makes a bold, yet commanding entrance for her characterization of Mama Rose in this scene for "Gypsy." Perhaps her characterization of the title role of "Auntie Mame" Dennis in Warners' 1958 film of the same name ("Auntie Mame") may have propelled her to play the role of Mama Rose in "Gypsy" in the film. 3. While I do enjoy "Gypsy" (1962), I believe that the "Let Me Entertain You" nu
  5. 1. I think the concluding "fantasy" sequence to "An American in Paris" (1951) is beneficial to the entire film. Thinking back to what I learned in my cinema studies classes at Hood College; the audience needs to be in the "zeitgeist," or a moment of time. If we lose out on zeitgeist and escapism, then the film (or the medium) will not hold anyone's interest. The "zeitgeist" moment what makes the concluding number in "An American in Paris" (1951) unique in the film. You could say the same for key musical moments in Gene Kelly's other famous MGM musical features, including "Singin' in the
  6. 1. For the "Moses Supposes" number in "Singin' In the Rain" (1952), the lead-off/warm-up into the dance number where Gene Kelly's characterization of Don Lockwood and Donald O'Connor's characterization of Cosmo Brown is beneficial; especially O'Connor's facial mannerisms when Bobby Watson's characterization of the instructor isn't looking. 2. Compared to Kelly and O'Connor's easy and carefree attitudes, Watson's characterization of the instructor seems a little uptight and serious when it comes to their diction lessons for sound pictures, yet the instructor is blown away by Kelly and O'Co
  7. 1. I'm not sure how this would fall into the continuum. I enjoy both screen productions of "Annie Get Your Gun" (MGM, 1950 with Betty Hutton) and "Calamity Jane" (Warner Bros., 1953 with Doris Day). I feel that Warners was trying to build on the success of George Sidney's MGM screen adaptation of Irving Berlin's musical, which was filmed three years before "Calamity Jane." 2. In addition to her various roles in her earlier Warners musicals ("Romance on the High Seas," "Tea for Two," "On Moonlight Bay," etc.) I think her title role of "Calamity Jane" may have helped her expand her later
  8. 1. For the ensemble number in "The Band Wagon" (1953), instead of having leading actors, it seems that Jack Buchanan, Oscar Levant, Nanette Fabray and Fred Astaire are all singing as an ensemble that would stick together. It seems like they are carefree and easygoing when they are singing "That's Entertainment." 2. They are in their regular street clothes (of the early 1950s) instead of wearing elegant/fancy costumes for the number (Buchanan's smoking jacket with a purplish-light blue tone, Levant's gray suit, Fabray's cream-colored pattern dress and Astaire's black suit). 3. It s
  9. For Ethel Waters' song to Eddie "Rochester" Anderson in "Cabin in the Sky" (1943), I noticed that Ethel's characterization of Petunia to Eddie's characterization of Joe ("Little Joe") in the number was that she was relieved that Joe would make it through. The same would apply in the fade-in to the outdoor sequence of the musical number; almost in a carefree manner. I'm not sure if the song would be different if Ethel's character of Petunia were singing to a child. Some of the lyrics might have been changed if there was a child in place of Eddie's character of Joe.
  10. 1. The scene/musical number where Betty Garrett's character is trying to woo/attract Frank Sinatra's character in Busby Berkeley's "Take Me Out to the Ball Game" (1949) is almost set in a "cut-on-action" setting, with a generous mix of close-ups, medium and wide-angle shots of the two, along with the choreography and pacing with Blanche Sewell's editing techniques. 2. The opening orchestration for this number by Roger Edens would definitely be a dead give-away for Sinatra and Garrett's crooning.
  11. 1. As with many students of the TCM/Ball State classic film musicals class, the first Judy Garland feature that I recall watching at an early age was "The Wizard of Oz" (1939). Not sure if it was one of the annual CBS telecasts of the film in the early 90's or if it was the MGM/UA-Turner VHS tape (the special 50th anniversary edition from 1989 with a commemorative mini-booklet) of the film that my parents purchased about a year after I was born. Another early glimpse of Garland besides "The Wizard of Oz" was the brief clips from a Public Television airing of "That's Entertainment" (1974) som
  12. 1. For the opening in Michael Curtiz's "Yankee Doodle Dandy" (1942) in terms of promoting American values for audiences during the Second World War, this would be associated with the opening in the White House, where James Cagney's portrayal George M. Cohan walking with Clinton Rosemond's portrayal of the butler; as the two are walking up the stairs, they are portraits of past Presidents on the wall. The Oval Office set design featuring Capt. Jack Young as President Franklin D. Roosevelt (voiced by veteran voice-over artist Art Gilmore) with the model ships and the President's desk with the d
  13. 1. Unsure if there are any "battle of the sexes" conflicts/moments in the competitive mating dance scene from "Top Hat" (1935). All I can see is that it looks like that Ginger is not impressed by Fred's singing and/or dancing until the middle of the scene, bringing them closer together. 2. The setting for this scene in RKO's "Top Hat" (1935) is different from what was shown in MGM's "The Broadway Melody" (1929) and Warners' "42nd Street" (1933); the earlier musicals were mostly set in a "music hall"/"performance hall" setting, while Fred and Ginger in "Top Hat" are dancing under a large
  14. 1. I noticed that the scene from Ernst Lubitsch's "The Love Parade" (1929, with Maurice Chevalier) would have an elegant touch; in terms of the set design, characters (Chevalier's Count Renard) and wardrobe. As with many early full-length feature sound films, the opening moments to "The Love Parade" are almost in the style of a stage play. This is where Chevalier's stage and vaudeville talents come in to play. 2. Since sound-on-film technology was still new to the industry around 1929 ("The Love Parade" being a Paramount production), you can mostly hear dialogue between Chevalier and
  15. 1. What I notice about Nelson Eddy and Jeanette MacDonald in "Rose-Marie" (1936) is that in the first scene, I feel that Eddy's characterization of Sgt. Bruce is showing a sense of interest in MacDonald's characterization of Marie de Flor in the film, Sgt. Bruce (Eddy) is displaying confidence throughout the scene while Rose seems to be shy towards Sgt. Bruce. In the second scene, I feel that Sgt. Bruce (Eddy) is not amused by the competing singer; who tried to upstage/humiliate Rose (MacDonald). 2. In addition to "Rose-Marie," I have seen both Nelson Eddy and Jeanette MacDonald in anoth
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