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About KarenLucille

  • Rank
    Advanced Member

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  • Gender
  • Location
    Huntsville, AL
  • Interests
    Musicals, Disney, rewatching the movies I remember from my childhood.

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  1. Nope. Still not working. Now I am getting an error message. "There was a problem verifying your account with your TV Service Provider." I don't get to "sign in" anywhere (although I tried opening a new tab and signing into my DirecTV account and then trying to watch TCM on demand... that's when I get the error).
  2. Funny, while I like some of the songs from Superstar, I prefer Godspell overall. Isn’t it nice that there’s something for everyone out there?
  3. I didn't get to see the whole thing today (thunderstorms loused up a lot of my scheduled recordings on satellite), but I actually liked what I saw. Was disappointed I missed "Day by Day." Thoroughly loved seeing a young Afro'd Victor Garber.
  4. 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? It would have lost the tender, wistful feeling this performance had. We needed to see/feel the disappointment that this relationship wasn't going anywhere. With a louder and more theatrical performance, it could have turned into either an over-the-top performance or conveyed the wrong emotion entirely. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? There is very little interaction, just occasional glances. How does the direction and editing of this scene support Streisand’s performance? Be specific about blocking, reaction shots, etc. The long two-shot with Streisand in the foreground and a barely recognizable Sharif in the back is really effective at showing just how alone she is and how the relationship isn't going to last. Her movements while singing (hands moving along the railing) accentuate the emotional turmoil she is feeling.
  5. I'm not getting into it, either. Actually, having trouble with most of the movies from 60s and 70s. (And I was born in '64... I've always thought I was born a little late.) So far, the only musicals this week that I can stand to watch are ones I've seen before and loved (The Music Man, My Fair Lady, Fiddler on the Roof, Bye Bye Birdie). A Funny Thing Happened... wasn't bad, and I could tolerate the Frankie Avalon, and Elvis movies. New ones that I found entertaining were Bells are Ringing and The Unsinkable Molly Brown. We'll see how the rest of today goes.
  6. I have favorite songs from animated musicals that are probably not super well-known, like Thumbelina and An American Tail.
  7. 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? No longer does the male lead need to be an alpha male or even a beta male. He is more like a "real" person, and his character that has been more fully developed than in the past. What other specific qualities do you notice about Robert Preston in either or both of these clips? Two things that stood out to me were his impeccable diction and timing and the how he convincingly played both roles. Have you seen any Robert Preston films that are not musicals? If so, what do you notice about his characters and his approach to acting, now that you are more aware of his dedication to working his craft outside of his stage or film work? The only other Robert Preston movie I recall was The Last Starfighter. His character in it seemed rather like Harold Hill, a bit of con man with a good heart.
  8. I was thoroughly unimpressed with Brando's singing skills. Sinatra should have had the Masterson role. Definitely prefer his version of Luck be a Lady to Brando's. That was TORTURE. And I agree about A Bushel and a Peck. Very disappointed it wasn't in the movie.
  9. In what ways does this scene look backward to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? Like early musicals, Gypsy gives us a look at the backstage moments of show business. But rather than the technical aspects, we see the gritty, less than pretty realities of trying to get ahead in the business: an audition that may just be a sham because the winner has been decided ahead of time, Karl Malden as a man with no real power in his position, overbearing stage mothers... This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actress. Russell's Rose enters like a bull in a china shop. She has an agenda, and no one is going to get in her way. For me, this is classic Rosalind Russell. It seems that almost any character I have seen her play is a strong, forceful woman. In this scene, she commanded attention from one side of the stage to the other. Pay attention to the song “Let Me Entertain You” in this scene. Is there anything you notice in Sondheim’s lyrics that are sly, subversive, or edgy? You can also discuss the song’s performance and staging as disruptive (or not). With all the grownups talking over the performance, I couldn't really understand the lyrics, so I looked them up online. I read that the lyrics were changed from the Broadway production from "may we" to "let me," and that originally Louise as "Gypsy" was the one to sing "let me." Not sure if any other lyrics were changed, but it is definitely a suggestive song and not one you'd want to hear a 6yo sing. The whole pushing of children into show business and what we've since learned often happened as a result would be quite disruptive. I found the scene to be jarring and difficult to watch; I wasn't able to focus with so much going on at once.
  10. Love Gene Kelly, but this isn't my favorite Gene Kelly film... in part because I really don't get into ballet scenes (that even makes Oklahoma tough for me to watch. 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? Thankfully, no. The ballet scene was fantasy, and as such, it works for its purpose. But as much as film is an escape, too much surrealism makes for not much enjoyment... at least for this viewer. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? I think knowing his situation (ex-GI, starving artist, etc.) makes the viewer sympathetic to the character. He never truly comes off as unlikeable, merely that he doesn't have time for snooty "third-year girls."
  11. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? They begin reciting the tongue twister together, with a rhythmic cadence, almost mirroring each other's expressions and movements. This leads perfectly into the dance movements. Watch the Professor all the way through and consider the role of the straight man. The professor's almost non-reaction to what is going on adds to the humor. He is almost a non-human and more of a prop, as evidenced by the way they incorporated him into their routine as a table. He just adds another layer of funny (at least to us and the dancers) to the scene. How do the representations of masculinity in all three men compare and contrast with each other? Obviously, the professor ranks low on the masculinity scale. Brains and no brawn, and apparently no sense of humor, either. Kelly and O'Connor appear to be fairly evenly ranked on the masculinity scale, but a few differences stand out that seem to label one as Alpha and the other Beta. O'Connor's funny guy routine of mocking the professor behind his back would point to him as more of a Beta male. When the two men wrap themselves in the draperies, he assumes more of a feminine pose, with the curtains around his head as a scarf, while Kelly strikes a rather Romanesque and authoritarian-looking pose, making him appear to be the Alpha in this scene. (So funny that because of his dancing, in real life, few people would have called him an Alpha male.)
  12. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Calamity Jane is no shy, feminine creature. In fact, there is little about her that identifies her as a female of her day. Her dress, speech, and manners all appear more masculine (there is even a scene in which she is mistaken for a man). As the movie progresses, she begins to realize that most men like a bit of femininity in their women and begins to learn to dress, walk, and talk like a lady. How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical? From what I recall, her earlier roles were very much "girl-next-door," complete with bubbly personality and sparkling sense of humor. She progressed into roles with a little more variety and both toe-tapping tunes and heart-tugging ballads (like Secret Love). She also branched out into nonmusical films, although one of my favorites still had her singing in it: 1956's The Man Who Knew Too Much, with Jimmy Stewart, in which she sang Que Sera Sera. Does Doris Day’s bright and sunny persona add or detract from the role of Calamity Jane in your opinion? Please defend your answer. I'm not sure I would say it added to the role, but neither would I say it detracted. I think it would probably make it easier to play an outgoing, take-charge sort of character as Calamity Jane. While I'd never describe Calamity as bright and sunny, she did have a lively and vivid personality, tamed only by her desire to be more appealing to men.
  13. I think The Glenn Miller Story is the film that made me fall in love with Jimmy Stewart. I loved him in It's a Wonderful Life, but this one is one of my favorites. I really need to get a copy to keep on hand. We used to live near the Air Force Museum in Dayton, OH, and the Glenn Miller exhibit was one of my favorites. I really was born a decade or two too late.
  14. 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? There are no breakout "star" moments of the song, where one person gets the spotlight, even though only one person may be singing at one particular time. There is a lot of interplay and glances between each member of the group during the song, but it doesn't feel contrived; these are friends who are having a real conversation, not performing to an audience. The group gives us a feeling of camaraderie, mutual respect, and admiration for each other. What do you notice about the costuming of the characters that indicate cohesiveness of the ensemble, as opposed to setting anyone apart? Be specific. Once again, no one stands out. They're each dressed in day-to-day apparel as is appropriate for their character. The only one slightly dressed up would be Tony, but it isn't over the top, merely a classic look for a man of his means. What do you notice about the staging and interplay between the characters that helps define the relationships between the characters in the song? This is truly an ensemble performance; even with solo parts in the singing, it wasn't designed to showcase any one performer as being more important to the performance as another. The same can be said for the dancing. Astaire's talents weren't the focus of this number. They all worked as a team. the side-by-side nature of the dance kept them all equally in focus as performers, rather than drawing your eye to one person as the standout performer. I liked watching the first part of the song, where they are taking turns convincing Astaire's character of their ideas. The glances from person to person are just the kind of interplay you'd see in a group of people excited about something and telling someone else about it. It would have worked even without a song.
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