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peejbuddy79

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  1. 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? If you’ll listen to the Broadway cast album from 1964, you’ll notice Streisand is singing a great deal louder mainly because in the theater you have to project a lot more energy so that the audience members sitting in the very back row of the house can hear you and feel that powerful energy; this was particularly so back then as this show pre-dates individual mics (befoe individual mics came along they had a row o
  2. 1. Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar withGaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) I saw GASLIGHT almost twenty years ago and both that and MY FAIR LADY have become two of my all-time favorite films. One theme I’ve noticed about both these films is that both Ingrid Bergman and Audrey Hepburn are playing women who have become dependent of the dominant male in their lives, played by Cha
  3. 1. As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? The most noticeable point I’ve noticed about men and their performances is that as each new decade comes in there is more self-assurance and security within the man’s performance. This can certainly be said of Fred Astaire and Gene Kelly in the 30s and 40s but no as much so with Robert Taylor back in the 30s; while he does have a definite likability in his performance he still tends to be somewhat stiff and self conscio
  4. 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 scene looks very similar to the backstage musicals like THE BROADWAY MELODY and SINGIN” IN THE RAIN, as it shows scenes taking place either onstage during auditions or rehearsals where anything can happen as opposed to where everything is prepared and scripted when the show is on in front of an audience. These scenes show the reality of show business and how it reflects the same downsides and disadvantages in
  5. 1. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? Being a musical, this film doesn’t necessarily have to rely on being too realistic. It needs to maintain a certain degree of realism in order to show the stark differences between the real Paris and the fantasy of the ballet sequence; but in musicals, realism more often than not takes a backseat to stylism and illusion. Hollywood, in general, is famous (or even infamous) for its insistence on glamorizing everything and everyone.
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Just by O’Connor’s facial gags alone, you know that we’re about to head into a dance number; this is even further established by the rhythmic tempo of the elecution exercises Kelly is engaged in reciting. 2. Watch the Professor all the way through and consider the role of the straight man. Here, the Professor is seen as the “straight man” but he has plenty of off-beat comedic elements as well, mainly by the manner he speaks in and his spirited reaction to Kelly’s prog
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Doris Day’s portrayal of Calamity Jane is much like Betty Hutton’s Annie Oakley in ANNIE GET YOUR GUN. Both are strong, independent women who put me in mind of Jo in LITTLE WOMEN and Scarlett in GONE WITH THE WIND. The only distinct difference between Scarlett and the other three is that like Jo, Jane and Annie are all tomboys who love to be included among all the men, whereas both Scarlett in Margaret Mitchell’s original novel and Vivien Leigh’s flawless inter
  8. 1. 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? The overall theme of this number is one of comeraderie and friendship. Not only are Astaire, Fabray and Levant’s characters old friends but along with Buchanan’s character they all team up to do a show that celebrates both friendship and their individual entertainment skills, all of which more or less depend on complimenting each other. You can’t help but feel a sense o
  9. 1. 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? I think the transition of Petunia at Joe’s bedside to hanging the laundry halfway through the song shows both the passage of time and also the happy, almost idyllic, simplicity of their lives, particularly Petunias as she’s a housewife who’s happy and content to keep house for her man. Her one conflict of concern is being assured that in spite of Joe’s attraction to gamb
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. One example of key actions would be to show a full length shot of Sinatra and Garrett as he slides down the railing at the end of the number and the need to so again as Garrett runs after him up to the top of the bleachers as Sinatra tries to get away from her, all to no avail. Garrett had a genius for playing gutsy, determined women who went after the man she wanted and as exepmlified both her and one year later in ON THE TOWN. 2. It’s interesting to examine how musicals segue into musica
  11. 1. What was the first Judy Garland film you recall watching? What was your impression of her? Like most people, the first Judy Garland film I ever saw was THE WIZARD OF OZ, which was actually the first movie I ever saw (certainly that I can remember). Naturally, my first impression of her was someone who I liked from the very first. I certainly identified with her wanting to be somewhere other than the arid, colorless, dry location of Kansas and going somewhere new and exciting. I could also identify with her fears and her desire to ultimately go home. The realizations she makes b
  12. 1. Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. At the start of the clip, Cohan and the butler go up the staircase to the Oval Office. The portraits of former presidents are hung on the wall and in the flashback scene that follows shortly after is bathed in patriotic fervor with flags galore as it’s an Independence Day parade. 2. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the screenplay
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I see Ginger’s character playing hard to get but also she’s proving to Fred’s character that she can keep up with his dancing as easily as any male dancer. I watched this film last night and this scene really does set the tone for the theme of the film and several of the other films they did together in the future. 2. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? TOP HAT is even more sophisticated
  14. 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)? I noticed, first the pre-code elements (the garter belt and particularly the subject matter). Being pre-code, Lubitsch could get away with exploring such a theme and using the devices found in this scene. From the very beginning of the scene, you know that Alfred is a philanderer/womanizer with little, if any, convictions about his sexual habits. 2. Based on this scene, what are some of the things you notice about th
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