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  1. It is pretty obvious that Maurice Chevalier's character is a philanderer. One of the best use of props that is shown on the film is the drawer full of guns. As it happens in the scene, after her lover is fighting him over the possibility of another women, she takes out a tiny gun out of jealousy. The said drawer may well be and example of how many love escapades Alfred may have been part of. I was an incredibly subtle way of develop Alfred's character with strictly visual elements. As it has been said, it is pretty evident that the movie is the product of a long tradition of silent film
  2. The first thing that struck me in the canoe scene, besides the obvious flirtation/courtship between the two leads, was the way the film represent virility and what is a "desirable man". While Nelson Eddy's character tries to review his "competition" to Marie's heart, he presents a series of attributes that makes a "real man". He asks if his a banker, which may represent economic stability, he asks if he is a sportsman, which may exemplify health and physical ability. At the end we find out that it is actually and Italian tenor, which surprises Mountie Sergeant Bruce but he is willing to proof
  3. I completely agree that the clip depicts a brighter perspective on life, compared to the day-to-day life of the movie goers of the 1930's. The element of competition on the entertainment sphere is treated almost like a childish game. Money is superficial and that is exemplified in the lavish costumes and theater sets. Visually we are transported into a black and white world full of expenses, most of which the public attending the movie were not able to have. This was common on the movie musicals of the era; big musical numbers, money all around, and drag-to-riches storylines were treated and p
  4. As soon as I read this question three things popped into my head: Judy Garland, Summer Stock [1950] and Easter Parade [1948]. Although every time somebody asks me this kind of questions I have a different answer, favorites change every now and then, Judy Garland always is in one of my choices. I find myself going back to these two films more often than not and they make me smile as soon as the credits start. Judy sense of humor and her ability to go toe-to-toe with the two top dancers of the Hollywood Golden Era [Gene Kelly & Fred Astaire] is more than amusing; it is beyond moving. I
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