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


  • Content Count

  • Joined

  • Last visited

About DiamondFace7060

  • Rank

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. There's a website that can help you with distinguishing between the two cinematic eras: http://pre-code.com/ Check it out- you'll have a grand old time there! By the way, some concrete examples of Pre-Code movies that wouldn't/couldn't have been made in the Code's heyday include Baby Face (1933), Freaks (1932), The Story Of Temple Drake (1933), Scarface (1932), Night Nurse (1931), The Black Cat (1934), Three On A Match (1932), Smarty (1934), Safe In Hell (1931), Red Headed Woman (1932), Murder At The Vanities (1934) Gabriel Over The White House (1933), Island Of Lost Souls (1932),
  2. 1. The Great Ziegfeld definitely prefers escapism over reality. This isn't surprising as Hollywood offered escapism during the Great Depression, a time when many people flocked to movie theaters to escape from their depressing reality. The film seems streamed from an alternate universe where everyone is beautiful and morally difficult dilemmas are replaced with easy-to-solve problems with inconsequential solutions: Louise Rainer going with William Powell is the perfect solution here since he is the main character, and in escapist land, likable main characters are the center of the universe.
  3. Least Favorite Cinematic Musical: Moulin Rouge! (2001) It's a nauseating experience that's not only pretentious but unintentionally ridiculous; also filled to the brim with actors who can't sing or dance, unbearable editing, insultingly cliched storytelling, and terrible directing. I never cared for Baz Luhrmann's films- his legitimately nonsensical films give a terrible name to artistically inspiring movies everywhere. His entire filmography destroys something I love by replacing its soul with frenetic bombast and suffocating attempts at being hip with audiences: Romeo + Juliet spat at
  4. Since I like to complain about really terrible movies, I decided to throw in my two cents on the subject of least favorite musicals! First, I'll react to the comments because I do find them both revelatory, amusing and entertaining to read. I'm sorry if I break someone's heart with my opinions, but I do agree with some of my fellow cinephiles's complaints. Ah, Holly Dolly! The very same musical that ended the bankability of old-school musicals! I actually have never seen it aside from clips of it in Wall-E, aka my favorite Pixar movie. Unlike WALL-E, I'm not entranced by Holly Dolly be
  5. Whenever I want to re-watch a movie, it's almost always a musical that I'm first drawn to. Musicals make me ecstatic to be alive, which is great news for me since I suffer from chronic depression. Their bright colors, their childlike optimism, their charming leads, their toe-tapping rhythms, their outrageously delightful stories.... what else can't a musical bring to the table!?! A great musical always brings a smile to my face! Since I now have little nieces and nephews, I'll be throwing on a lot of musicals for them to watch/hopefully enjoy. This means that I'll be given another chance
  6. I personally would add Frank Tashlin's comedic musicals into this retrospective as his candy-colored delights are both well-crafted satires and entertainingly respectful tributes; notice how The Girl Can't Help It loves the musicians whilst making fun of the industry at the same time! Another addition that I would make would be showcasing some more recent musicals that either deconstruct the genre [Pennies From Heaven, Dancer In The Dark], radicalize the genre into being countercultural [The Rocky Horror Picture Show, Little Shop Of Horrors], exploit the genre by not understanding its charms [
© 2021 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...