Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

Linjo

Members
  • Content Count

    38
  • Joined

  • Last visited

Everything posted by Linjo

  1. Explore any common themes and film making techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course). The set designs are similar - heavy, over-done and oppressive rooms with very little natural light. Both women are dominated by men who are manipulating their lives for their own purposes. Cukor plays with the shadows to underline the women are living in shadows. Note the emotional transition moments i
  2. 1. How might Streisand’s performance of the song “People” have felt different in the film, had she been more theatrical and expressive, perhaps even belting her song more? Belting would not have matched the scene to me (I never saw the play just the movie). The way it is performed is much more intimate, like a soliloquy - Fanny is revealing her true feelings to the audience and Nicky. I think she reveals far more in little gestures and glances - the lover lyrics - than if she was in full performance gear. You understand the complexity of their relationship in the few minutes of this love
  3. 1. In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? The vaudeville setting is the standby scene from classical musicals as is the kids auditioning to put on a show. The producer is there as well as the on-stage presenter. It's a little seedier looking than most classic musicals which more fondly remembered vaudeville. Usually the main actor(s) showed some talent but the two little girls are not that great with one (Louise) pretty bad indeed. The entrance of Rose is a disruptio
  4. I think it depends on the story and how the director chooses to interpret that story as to whether the entire movie has the same artistic style or not. A change makes a point. I like that the ballet scene is different because it is in the character's imagination and all of his experiences in Paris - the people, the market places, his desire to be a painter inspired by the great French impressionists, nd of course his love for this young French woman. The stylistic difference reminds me of the sepia sequence in Wizard and how that is used to contrast Dorothy's ordinary life in Kansas as opposed
  5. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Kelly and O'Connor's back and forth on the Moses Supposes lesson then their syncopation on the words rhythmically sets up the dance. The two mirror each other near perfectly throughout the sequence with only brief solos by each. The Foley Tap matches their dancing on the nose to me. Watch the Professor all the way through and consider the role of the straight man. He's in control (or believes he is) briefly then loses it to the antics of Kelly and O'Connor. I don't think he knows what to
  6. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Middle of the pack. Calamity is a tomboy and happy to be who she is. For the most part, it seems the community outwardly likes her and appreciates her work yet when she really tries to be "one of the boys" in the saloon scene the men push her aside and ignore her. Until she shoots off her gun. They get the last laugh (and enjoy it) on her when she fumbles at the bar and falls on her ****. Maybe that's a statement about a woman pushing too hard against society for equa
  7. As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? They respond listen and respond to each other as a group. No single character is doing all the talking or performing. Each is on is contributing a "bit". Previous musicals tended to feature one - or two - stand out performers possibly supported by a chorus line or numerous extra dancers. What do you notice about the costuming of the characters that indicate cohesiveness o
  8. Report post Posted 9 hours ago 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? The focus is totally on Waters and the emotional and genuine feeling she is infusing into the lyrics of the song. This man means everything to her and her life is content as long as he loves her. I think the cut to her hanging clothes while Joe watches her from his wheelchair shows time has passed in
  9. Thinking like a director and editor, describe how each shot spotlights key actions. The whole sequence is a reversal of a man stalking a woman he is obsessed with. She confronts him in the hallway, chases him up te stairs that lead to the bleachers - so we go from a confined area to a more open yet constricted area (lined the seating) so Sinatra only has one clear direction to go until she corners him at an opposite stairway exit. The music has been building to this moment when she speaks her mine quite plainly and challenges him to play ball with her because its fate, baby - she even be
  10. It has to be The Wizard of Oz as a child. Every year (for a time) they played it on TV and it was a ritual (one my mom got tired of viewing as we only had the one TV). She was so likeable and appealing and you truly felt her emotions throughout the film. You shared the journey with her. And what an incredible voice for a petite, teenaged girl! I think Meet Me in St. Louis was the next one I remember - still love the film and Judy's performance of Have Yourself a Merry Little Christmas is memorable and no one has every topped her delivery in my opinion (it's also my favorite holiday song).
  11. 1. The flag in the oval office, the portraits of past presidents lining the walls of the stairway, the flag pin on Cohan's lapel, the paintings of naval ships (FDR was the Secretary of the Navy in WW1) in the oval office and the presence of FDR, recounting the Providence 4th of July parade (and when Cohan was born) - all of these visuals emphasize American history and presence and the FDR makes it current to the audience. 2. This line - That's one thing I always admired about you Irish Americans. You carry your love of country like a flag, right out in the open. It's a great quality. - il
  12. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? It shows that a confident woman can always match the man. The similar outfits keep equalize them as well as the matching steps, swaggers, jumps, and twirls. It is the beginning of the courtship and they don't touch until well into the number; they've gotten to know each, assessed the situation and like what they see. Only then do they touch n dance as a couple with the music and thunder emphasizing the strength of the attraction. The dancing speeds up and slows just as a relations
  13. 1. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier) Ah, the humor of the Lubitsch touch! I see the sleeping dog on the couch - he obviously has been through many evenings like this and is used to it. The multiple pistols and garters in the Count's secretary - again this situation has happened numerous times before. The graphic of the scantily clad lady above the secretary. The shooting that isn't a shooting and the Count's checking his body for a gunshot that never touched him - and
  14. 1. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In the canoe clip, it's playful, teasing and lightly suggestive enough to be fun but not upset the code. He obviously likes her and she's pretending not to but she does (a typical scenario in movies of the era). The bit about changing the name in the song to suit the current flame is amusing and shows both have a sense of humor. The humor also shows he may flirt but he's not a bad guy and she gets it. The second clip further demonstrates the two have feelings for one anot
  15. 1. Depression-era musicals were pure escapism - I can't think of any offhand that portrayed life as really experienced by the majority of the filmgoers. I think the filmgoers wanted to dive into a beautiful, happier place inhabited by beautiful people in gorgeous clothes living sumptuously without a serious care in the world. Two hours of relief from reality - and the studios delivered that relief. Five pound tips, exotic, expensive flowers to impress a lady and business decisions made on a whim - its another world. Who wouldn't want to live in that world? 2. I would anticipate the sam
  16. No matter how many times I have seen them I always will watch these when TCM airs them: A Hard Day's Night, A Star is Born (with Judy) as well as Meet Me in St. Louis, Top Hat (the story line is unbelievable but Astaire/Rogers make it so much fun) ), The Great Ziegfield (pure make believe regarding Ziegfield's life/character but I adore Powell and Loy in anything plus the film is sumptuous. Can you believe staging some of those Follies?), The Sound of Music (who can resist it?) and Funny Girl (Streisand is amazing).
  17. Of directors, Tim Burton immediately came to my mind because of the quirky, often dark and humorous approach to his films. I caught a quick glimpse of many others that share this thought too. His films are visual like Hitch's. For the cool blonde it would have to be Nicole Kidman - intelligent, classy and sometimes mysterious. Now, if your "everyman" could be an "everywoman" I would vote for the clever Emma Thompson. Wouldn't she be delightful as the mistaken identity person running from the villains but seeking the MacGuffin! Helen Mirren would make a superb Hitchcock villainess. For the l
  18. Both the movie and TV series "The Fugitive - innocent man wrongly accused chasing the real villain and being chased. In the movie, you get that great train crash as well. The Night of the Hunter - because we know the where the money is from the beginning and that Mitchum wants it - that's the driving force of the movie. No mystery but suspense for sure and the lighting and imagery - the children in the boat floating along the river, Mitchum's tattoed hands, the shadowy room where Shelly Winter is murdered and a typical small town that you would never think things like this are going on und
  19. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. Hitch opens with his penchant for featuring places people travel to or would like to trvel to. Very recognizable places. Since its starts withe aerials and then pans closer and closer to the crowd it differs as The Lodger was a tighter shot of just the crowd. Now that crowd was one made up up of mostly average folks not the media while this is in reverse. The media are there to cover a speech about cleaning up the Thames then what comes bobbi
  20. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects.This is a woman who is ending one life and starting on another. She's replacing all her clothes and her identity (SS card). The old objects no longer hold any interst for her - she's literally dumping them into a another suitcase as she carefully packs new clothing into a new suitcase. even the money is tossed into the suitcase as if it were not important at all. She's carefully building a new persona
  21. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene?Mistaken identity often plays a big part in romantic comedies so we begin with that here. Melanie is well dressed, beautiful, with an air of sophisticated ease. She's accustomed to getting what she wants when she expects it - but doesn't get huffy when the bird she ordered is not ready and waiting for her (but she doesn't want to hang around and wait). Mitch is also well dressed, attractive, an
  22. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film?Visually, peeping through blinds, reading between the lines, having information come at us from different angles - different viewpoints?. The words are not always clear, or are skewed, then clear up. Somthing is slightly off. The music is piercing, like needle pricks. It increasing that unesy, unsettled feeling. The movie hasn't started and we are al
  23. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. First, the sunglasses are a Hollywood cliche for a star. The whole conversation about people thinking hes is vaguely familiar or someone they have seen before - we do recognize faces of starts and not always there name. Cary Grant - I Don't think you would forget him. Also the allusion to women and his having to preten he doesn't want to
  24. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. Based on the imagery and score, I would say it is a film about a dream or something experienced under a trance. Not a story based on facts but based on the twists and turns of a mind. Also, because the images keep rotating on and on, it would be a dream or a thought th
  25. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window?To me this is the prologue to the film. It establishes how we will be viewing all of these people over the course of the film. The view is from one spot across the terrace in what we learn is an apartment - Jimmy Stewart's apartment. His back is to thw window in the beginning,yes, because he has yet to become engaged in watching the world outside his apartment.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...