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KelRay

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  1. 1. Belting the song, which works for Broadway, takes away from the intimacy of the screen. Something about movies lets things be muted and subdued to really push the emotion. Fanny shows a different side to herself this way. Also, personally, a softer lip-synced song is almost always better than a lip-synced belted song. I think it's harder to sync to a song that's bigger. 3. Giving Barbara a lot of higher ground puts her in control of the scene when it comes to blocking. Having her be "upstage" and then cross up the stairs gives her a vulnerability and draws the eye - you follow her as s
  2. 1. Gaslight is all about lighting - and one of my favorite Bergman movies. The focus is so often on the light on Bergman's face or the way things flicker - while here, the shadows are what's doing the talking. Where Bergman was lit for her emotional moments, Hepburn is shadowed. Opposing effects from the same idea. 2. As Hepburn goes back and forth between tears and rage, Harrison remains uncomfortably calm and cold, distant as her emotions tumult. Cuckor sets up the scene to show just how drastic their differences are, and it makes for a harsh and well done scene. 3. Eliza and Higgi
  3. 1. Gypsy Rose Lee spits in the face of Hollywood code of the 1930s, and yet the beginning of this movie still feels like a Backstage Musical like back in the 42nd Street or even For Me and My Gal days. Because GRL is definitely not "code" material, a movie about her life is glaringly blazing into the future - where things aren't so risque and dangerous but are right out in front of you in bold Technicolor. 2. Rosalind Russell is a gem and I love her. Is that enough of an answer? No? Here we go - Rosalind Russell has every move down. She knows where the camera is, knows how to play to i
  4. You're right - Gene Kelly is the one that makes it work. I remember the first time I saw An American in Paris I was pretty turned off by the scene where Mulligan approaches Lise while she's with her friends - mainly because, if I'd been Lise, I would have been way freaked out by a man coming on to me like that. I can look at the times and say, yes, men were more aggressive in movies back then (Howard Keel spanking Kathryn Grayson in Kiss Me Kate) and things are different now, but that scene always sat ill. At the end of the day, though, I enjoy the movie because of Kelly. If the rol
  5. 1. The ballet scene wouldn't have felt as fantastic or dream-like if the movie hadn't been set in realism. If the whole movie had felt like a Picasso or even a Van Gogh in the background as opposed to a Rembrandt or a Monet, the whole movie would have had a more cartoony-unrealistic feel. That would have transposed into the ballet scene, where it wouldn't have been as stark, out of place, dream-like, or beautiful. The same goes for Lise's introduction. The bold colors as she plays caricatures of herself wouldn't have been as unique, creative, or enjoyable if the entire movie had been don
  6. This is my favorite scene from one of my favorite movies. 1. In a lot of ways, I wish I'd never learned about post-recording sound, since it makes me wonder how many don't actually line up. I struggle with the way my ear now listens to them as separate (kind of like watching them lip sync). They're very well done here, and yet I can't help but wonder what was added that wasn't there originally. 2. The role of the straight man is necessary in comedy. You can't have comedy unless someone is on the wrong end of the joke. The straight man fills the role of the observer and the stooge. He
  7. 1. While Calamity Jane isn't like the other women in 50s pictures, being the gruff tomboy instead of the sensitive bombshell, she's still a sign of the times that women are not capable of doing what men are doing. They mock her and laugh at her, even as they accept her. She's not one of them, and the movie never lets her be seen as stronger or better than them (much like Annie Get Your Gun). They hold to the femininity that women can't, as opposed to today's films where often a woman will be the best with the gun or sword, depending on the storyline. 3. I think Doris Day makes Calamity Ja
  8. 1. The characters include and relate to one another with comedy and unity. It isn't a competition (like Rogers and Astaire dancing films, where they might be competitively matching step for step), but a collaboration. They don't highlight Astaire, but have him do a simple step on the outside of a trio. There's rarely a moment where one character is by themselves in the shot, and usually only because the others are setting up for the next united gag. Earlier musicals tended to feature fantastic dancers or highlight one voice as opposed to the ensemble. But much like the action, very few lyrics
  9. 1. The scene shifts from Petunia being in a place of crisis in the seconds before she realizes Joe is calling for her to her joy at seeing him. "Don't call the doctor, go tell the reverend, tell everybody..." She's overjoyed that her husband is going to be all right. As he tries to speak to her, she tells him to rest, and in her joy and love, she begins to sing. The bedside rejoice (aside from making me tear up) has a tender softness to it. When we shift to the outdoor scene, it shows some time passed, and she's no longer dressed in dark clothing with her hair covered but is wearing a bright d
  10. I love Frank Sinatra. I'm not a huge fan of Garrett, but I don't mind her. 1. The sounds match up really nicely. They hit every musical note that went with an action (the ball toss, wall slam, railing slide). For every advance she makes, he counters. Despite being the mafia, tough guy, Frank Sinatra (being a slim man) is easily manhandled by this petite lady. It's interesting how things like this were allowed, since it's a female to male combination and not a man being so aggressive with a woman (there are films with that in there). 2. This segued easily with the music leading up to
  11. 1. I think, like many in my generation, the first movie I saw of Garland's was Wizard of Oz. In fact, for most of my childhood/teens I didn't realize there were other movies of her--that was THE movie and she was THE Dorothy. 2. I've seen both of the movies used in the clip multiple times, but when I first started seeing her catalog of talent, I remember being surprised to see that Dorothy grew up--and grew up insanely talented. Gone is the round-faced little girl with large eyes and a cute dog. Garland is a class act, and she cracks me up. 3. The Pirate was one of the first "later"
  12. 1. Being in the Whitehouse, obviously, sets up American values. Can anything be more American than where the President himself lives? Furthermore, the American flag pin, the portraits of past presidents on the wall, and the naval photos and the model ship (I believe that's what was in FDR's office) are all American symbols. More than that, I would think the ships would be a tribute to Pearl Harbor and the US Navy. 2. From two minorities (Irish American and African American) talking about American pride, when both had been so abused in the US's early years (African Americans longer than Ir
  13. I think the reason people might struggle to see a battle of the sexes in this clip is due to its era and post-code methods. Rogers is dressed in a way that isn't as feminine as is often used, and while Astaire leads her into the dance, she chooses to be part of it and to match him step by step. He might be in control of which moves they do, but she's choosing to show she can do them just as well. I think by today's standards it's not much of a battle, but in the 30s, during an era where they could hardly show anything, it's rather explicit in Rogers being just as involved as Astaire. As f
  14. 1. Is this clip brighter than reality? Yes, for sure. In the Depression Era this wouldn't be day-to-day life. As many worried about jobs, housing, and food, the idea of a starlet who has the opportunity to work with two big names would be fantasy. The whole thing is escapism in a time when it was so important for those facing hardship to have something to dream about or escape to. 2. I'm struggling with the wording of this question - what does this clip make me think I'll see in other Depression Era Musicals? I'd say I'd expect to see men competing over women (as opposed to women for men
  15. I actually thought Wait Until Dark was a Hitchcock film when I was growing up (someone probably misrepresented that to me) and it was always one of my favorite classic suspense thrillers. I agree on all fronts. It is definitely a reflection of what Hitchcock gave us.
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