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FilmFan39

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Everything posted by FilmFan39

  1. 1. If this song had been more theatrically sung then it might have overwhelmed the scene and taken away from the subtly romantic vibe happening between Nick and Fanny. 2. Nick seems to be in awe of Fanny and her voice while Fanny barely seems to notice that Nick is even there. 3. The way the scene is shot it's all about Fanny and what she is experiencing emotionally at that moment. Nick seems more of an observer in the scene becoming more and more infatuated with Fanny as she sings.
  2. 1. Both Gaslight and My Fair Lady are stories about women who are controlled by men. 2. The emotion build with Eliza first looking around wistfully then become increasingly upset and angry about the way she has been treated emotionally by Mr. Higgins. Higgins as usual is completely baffled by Eliza's emotional outburst thinking that she should be greatful to him for his help and hospitality. 3. Eliza is definitely in a subordinate position to Higgins. Eliza realizes she's in love with him but feels as though he will never truly love her or anyone for that matter.
  3. 1. I think the performances change as the music style change. The style of the music man is more classic musical while Victor/Victora is more jazzy and modern. 2. Robert Preston's performances show that he is a true musical performer who is able to change with the times. 3. I haven't seen any further Preston films so I can't really speak to this question.
  4. 1. This is definitely a throwback to the old behind the scenes of a show type movie from the 40's but this is a little more realistic and cuthroat and less glamerous. 2. Mama Rose is the epitomy of a stage mother. It's my kid front and center or else. She choose the music, the lighting even the focus on Baby June instead of Louise. 3. Let us entertain you is definitely a sly witty song who's lyrics can be subtly manipulated for use by child actor or would be stripper so it seems.
  5. 1. I think that the fact that most of the film takes place in the ordinary everyday life of a starving American artist in post war Paris makes the fantasy ballet sequence at the end all the more powerful so I don't think the film necessarily needed to carry that element all the way through. 2. I didn't see Jerry Mulligan as an annoying character at all. He was very friendly to his fellow artist as he searched for the perfect spot to sell his art on the streets of Montmarte If the woman in the red dress wouldn't have started off critisizing and critquing his work right away then I don't th
  6. 1. The pre dance moves of Kelly and O'Conner serve as a transition to the more fluid dance moves that are shown once the musical number really gets underway. 2. The professor services a great foil for the other two gentleman as he watches the fun and games from his much more intelligtual view point. 3. Kelly is the ultimate mans man masculine and confident while O'Conner is much more the mischief making sidekick and the professor is the snobby intellectual.
  7. 1. Calamity Jane is more in the tomboy mold than the typical female role of the time. She is much more intrested in finding her place in a wild west full of men than typical female pursuits of love and marriage. 2. Doris evolved with each role she took from Hitchcock thrillers to more comedic roles like those she did with Rock Hudson who was by far her greatest partner on film. 3. I think Doris Day's persona gives a great balance to the role. While she is rightfully a mans woman she also has the ability to be feminine when she needs to be even though she isn't quite comfortable in th
  8. 1. They all work perfectly together. Each individual perform works seemless with the other within the musical number with no one standing out or taking over. 2. They are all costumed in colors of blue and white with even the shades of blue in the men's ties matching the shade of blue in the woman's skirt. 3. They all seemed to match each other perfectly with the context of the musical number.
  9. 1. This scene shows us how much Petunia loves little Joe and that once she knew he would recover she was able to return to the normal pace of live. 2. The song is definitely one sung by a wife to her husband but with a few alterations could easily be sung by a mother to a child.
  10. 1. Well you can definitely see the role reversal in this film with Ms. Garrett doing the pursuing of the reluctation O'l Blue eyes. It emphasises the fact that they are fated to be together no matter how hard Sinatra tries to get away. 2. The segway to music happens seamlessly as Ms. Garret and Frank exit out to the field and the chase is on.
  11. 1. The first films of Judy Garland that I remember seeing were The Wizard of Oz and the musicals she did with Mickey Rooney i.e Babes on Broadway and Girl Crazy. In these films Judy is shown as the sweet kind girl next door that everyone loves yet is overlooked by the male protagonist in favor of a more flashy female. 2. You can definitely see Judy's progression from girl next door to beautiful woman in these two clips. She is definitely not being overlooked by either Astaire or Kelly. 3. Two of my favorite later Garland works are Harvey Girls and of course the absolutely splended A
  12. 1. The movie opens on Cohen going to meet Mr. Roosevelt in the oval office and he is very nervous there are pictures of warships on the walls and flags everywhere. 2. Cohen and Mr. Roosevelt discuss family, nationality and love on ones country which are all themes that are used heavily in the war era musicals. 3. I think that the flashback is necessary to show the viewer where Mr. Cohen came from and how his family shaped him to be where he is now.
  13. 1. I can definitely see the battle of the sexes in this dance scene. In every move Astaire makes Rodgers tries to one up him on all fronts. It's all kinds of cute and fun and shows the shift that is coming where women are starting to get the sense that may just be equal to if not better than their male counterparts regardless of what society was telling them at the time. 2. Top hat is set in a much less opulent world as opposed to the early films we have seen with their sumtous costumes and locals. 3. Woman on the whole in the 30's while not nearly as liberated as they would become l
  14. 2. From the scene, dialogue and props we can tell alot about Alfred. He is a man of some means as he is staying in an nice hotel room in a fancy hotel. He is somewhat of a cad as the woman he is with finds a garter that wouldn't fit her inside the room. He is also a man who is used to courting jealous women as he is not at all fazed by the woman pretending to shoot herself right in front of him and has a drawer full of revolvers from previous lovers. 1. We have a garter, a gun and a jealous lover and her husband all in the span of a few minutes. 3. That the rich and upper class would
  15. 1. The interaction between Sargent Bruce and Marie is pretty typical of the films of that time. Sargent Bruce is trying to outright woo Marie with his silly song which Marie in turn in trying to resist Bruce's charms mocks the song and tries to act disinterested in him when cleary she is smitten. 2. In most of the Eddy/MacDonald films of the era there seemed to be an easy charm between the two which translated well to film. They were married so that also added a level of chemistry to their work as well. 3. This clip showed that the men were the pursuers and the women were the ones be
  16. 1. The opening of The Lodger starts with the murder actually taking place while the opening of Frenzy starts at the opposite point with the murder already taking place and the body being discovered in the river. 2. The opening shots of London that establish the city in which the story will take place and the crowd scene surrounding the politician. 3. Hitchcock sets us right in the middle of the action as usual jumping right in and keeping the viewer with the main character throughout the film.
  17. 1. She is an illusion. Everything about her is fake from her clothes to her hair, to the multiple social security cards she hid's behind the compact mirror. She is definitely hiding something. 2. The score builds and builds in intensity until the final revel of the blond Marnie. 3. I think this cameo is a little more on the nose than his previous ones. Usual Hitchcock's cameos fit seamlessly into the background of the scene and sometimes they are even difficult to catch if you aren't looking. This cameo had more of a wink to the camera feel to it.
  18. 1. The opening scene of The Birds setups a meet cute between Melanie and Mitch. Mitch is attracted to Melanie who is thinks is works in the pet store. After asking a few questions he realizes that Melanie dosen't know a lot about birds but continues the conversation. 2. At first you have the noise of the seagulls that are swarming in from the sea as Melanie heads towards the Pet Shop. As she enters the shop the bird sounds intensify until that is almost all you can hear drowning out any human interaction. 3. Hitchcock is seen leaving Davidson's Pet Shop with two small terriers a
  19. 1. The title sequence lets the viewer know that something suspenseful is going to happen but you don't know what. 2. The specific date place and time are like an hourglass slowly slipping away until the awful end of Marion's life at the hands of Norman. The shot under the blinds panning into the seedy motel room with the main character lounging carelessly on the bed is very similar to the opening scene of Shadow of a Doubt when we are first introduced to dear Uncle Charlie the Merry Widow Killer. 3. Marion Crane is definitely one of the more out right unscrupulous of Hitchcock's fema
  20. 1. Cary Grant was a very well known movie star by this point in his career and Eva Marie Saint was well on her way. The juxoposition of these two stars in this film draws the view in and makes them invested in the fate of these two characters. 2. It introduces Roger to the audience and gives Saint's character Eve a chance to show Rodger how charming and seductive she can truly be. 3. The sound and lighting of this scene creates a mellow charming atmosphere for the two characters to meet.
  21. 1. From the opening title sequence one would think this movie was about obecession with the close ups of the woman face and madness with the spirals swirling out of control. 2. The close up of the woman's face as it focuses in on the eye with the spiral. It shows obsessive attention to detail to the point of madness. 3. Saul Basses Images and Bernard Hermann's work seemlessly to create an atmosphere of uncertainty in what's really going on and what we are really going to see.
  22. 1. The opening shot of Rear Window is a view into the surrounding of Mr. Jefferies as the camera pans to the action in each individual apartment. We are voyers along with the main character. 2. With the pan through his apartment we can tell that Mr. Jefferies is a photographer who is sent on very high action, high adrenaline assignments that should have gotten him injured ten times over. 3. The opened shot gives the viewer a feeling of being just as much of a peeping tom a the main character peeping right along with him.
  23. 1. It starts with the legs as the move towards the train, then it's the train tracks as the train begins to move and finally the shoes when Guy and Bruno finally meet. 2. Guy is comes across as confident, well dress and comfortable in his surroundings while Bruno is quieter, much less polished and seems ill at ease in the train car. 3. Tomkins music starts out carefree and light picking up speed, drama and intensity as we get closer and closer to the meeting of these two men.
  24. 1. There are several Hitchcock touches from the light and shadow play of Alicia and Devlin, the topsy turvy move of the camera as Alicia becomes more focused and the record playing in the background. 2. I think that Hitchcock's direction shows us the characters fairly well. Bergman's Alicia as the drunk weary party girl who was looking to go straight and Grant as the mysterious shadowy Devlin who we are uncertain of throughout the entire film. 3. I think that this is some of Cary Grant and Ingrid Bergman's best work. Cary Grant comes across as suave and sophisticated while mysterious a
  25. 1.This is much more intimate opening scene than we have seen from Hitchcock so far. It takes place in the couples bedroom for the most part with the sole focus being the relationship between the Husband and Wife The couple seem to be in the mist of some sort of argument from the dishevel state of the room and the fact that he is sleeping on the couch while she is sleeping on the bed. 2. I disagree that this is a typical Hitchcock opening. The opening scenes we have viewed so far have for the most part been noisy chaotic ones taking place in public with a sense of tension to them. The open
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