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KWiniarski

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  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? Things are definitely changing. In the past there was either the alpha male or the sidekick beta. Now it seems like things are becoming more true to life. There aren't just two types of men. The mold is being broken. You also have rebellious Elvis and then Preston's character in Victor/Victoria, where he's more complex. What other specific qualities do you notice about Robert Preston in either or both of these clips
  2. 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? I don't think so. The contrast between the real world and the fantasy makes complete sense. It also makes the fantasy really pop when we get to that point. If the ballet was muted and more realistic, it wouldn't make sense as a fantasy. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? The way he dismisses the college girl is pretty funny actually. He's ki
  3. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? Before they start dancing, they are already starting to bob and draw out words, somewhere between speaking and singing. It helps lead us smoothly into the song and dance, so that we don't question that's where it was going all along. The moves before and during the song match really well with their personalities. Watch the Professor all the way through and consider the role of the straight man. The straight man is a great tactic that I never really thought about before. He acts to make
  4. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? I think she is almost in her own category (maybe with Betty Hutton's Annie, but I haven't seen that one. I don't find her as pleasant to watch as Doris Day just from the clips I've seen her in from Annie Get Your Gun). Calamity is a complex character, which I love.. she's definitely not a one dimensional woman like so many other characters at the time (like the naive blonde and streetwise brunette of Gentlemen Prefer Blondes). She grows throughout the film. She is m
  5. 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 four characters each get a turn singing alone at the beginning, but then sing together for majority of the remainder of the song. This sets them up as equals and they play together in different gags, such as Astaire catching the handkerchief or the lighting of the cigarette. Most of the early musicals feature just one or two people singing and usually the main focus is only
  6. First of all, I adore these two together and love that Betty is the aggressor. I think they are cute and it works really well with Frank's character both in this movie and On the Town. He is the shy one both compared to Betty and to Gene Kelly. This is true of Gene and Frank in Anchors Aweigh also.. they are played as opposites. Thinking like a director and editor, describe how each shot spotlights key actions. This scene is awesome for that. The camera work follows them really well and I love how it switches when she backs him up against the wall. It highlights her hand before s
  7. 1. What was the first Judy Garland film you recall watching? What was your impression of her? Of course, it has to be The Wizard of Oz for me too. It's hard to remember exact impressions because I was a little girl, but her voice was amazing. She always had this voice so much bigger and richer than you would think it'd be. Her wanting to be a part of the farm and how she tried to stress the importance of her problems to her aunt and uncle is very relatable for a kid. The flying monkeys were also terrifying for a kid haha. 2.How do you view her differently after viewing these clips
  8. 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. There are portraits of presidents as he's walking up the stairs to see FDR in the beginning. Then, when it switches to the past, there are American flags everywhere. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the screenplay work to boost American morale? Quote specific lines of dialogue in your response. They talk at the beginning about it bein
  9. I would love to have cable and TCM, but it's too expensive for me right now. I know when I looked into before, I had to go up at least one tier to even get the channel as it wasn't available with the basic package. A few of these movies are available online to watch for free, but I wonder about these sites and the playback isn't always the best. The site I found Born to Dance on keeps freezing and the one I found The Broadway Melody on is just kind of irritating.. ha. Luckily, I have both Top Hat and The Wizard of Oz anyway, so I just rewatched my own copies. I'm sad about missing out on all t
  10. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? As it begins, she walks away from him, trying to show him that she's not impressed with his singing and is attempting to resist him or convince him that she's not interested. Had it not been raining, maybe she'd have walked away entirely. The dance battle is brilliant. I don't see it as her following him or him in control. I see it as her rising to meet the challenge of his steps. She shows she's just as good as he is by duplicating the steps perfectly. It actually reminds me of the barn dan
  11. For me, I agree with more of what people have already said. I thought that Eleanor Powell was definitely smoother and more graceful of a dancer, but Ruby Keeler was a bit more powerful in her steps. I found Keeler more interesting to watch even though she didn't move around as much. I enjoyed watching her hit steps hard while Powell was just kind of flitting about. There was a grace to Powell, but I didn't like it as much. Probably makes sense for me because I really enjoy watching Ann Miller, who was also very powerful in her steps.
  12. 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)? The addition of the garter not belonging to the woman that he's currently with shows that he has more than one woman that he's fooling around with. He also has a fancy place which shows his wealth. By the husband coming in, it shows that not only does this man have multiple women, but he sleeps with married ones. At the end, him needing to report to the queen further demonstrates his importance though I didn't catch the extent of what
  13. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. In the first clip, they're definitely flirting, but trying to give the other a hard time at the same time. Her with her other suitor and him with using the same song for every girl. They like each other, but are a bit apprehensive at the same time. In the second clip, the attraction is still obvious with him trying to give her sympathetic smiles and her being embarrassed about her performance. If you have seen either or both of these actors in other films or televisio
  14. I really enjoyed seeing this clip of these two again. I think MGM kept Judy because she was a cute kid with a huge range in her voice. It was obvious that she would be good for musicals and she still looked like a kid so they would be able to use her that way. Even at a young age, it was obvious that Deanna was going to look like a leading lady, but she wasn't as good of a singer, in my opinion. Judy was gorgeous as she grew up too, but at this age, she would make a great addition to Mickey Rooney's movies. She fit the style of MGM.
  15. I've really tried to like Funny Face since I love both Fred and Audrey, but I really don't either. I agree about Daddy Long Legs. It has a weird story to me. I also really don't care for West Side Story.. again mostly the storyline. I want a happy ending to my musicals.
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