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

Shayna

Members
  • Content Count

    18
  • Joined

  • Last visited

About Shayna

  • Rank
    Member
  1. 1. She sings the song contemplatingly - had she belted it, it would have had a very different feeling - more loud, in your face type feeling. As it is, I feel it is sung expressively and theatrically, but in a 'smaller' theatrical way - it's more intimate. Belting a song tends to make it less intimate. Larger movements take away from the lyrics and pure meaning. 2. When she first sings about children she gives a little laugh, as if remembering what it was like to be an innocent child. Her entire tone and demeanor changes as she begins to sing about lovers - her voice gets softer, her ton
  2. 1. the scene starts with Eliza in the shadows, which is a big part of Gaslight (the shadows from the gas lamps, the light fading and getting stronger). Obviously, this is both a literal and non-literal take on the term gaslight. Throughout the scene Eliza is upset and Higgins fails to understand why. In Gaslight the husband takes opportunities to make it seem as if his wife is imagining situations/feelings. In this case Eliza's feelings are on target, Higgins is just obtuse. 2. As Eliza begins to let her frustration out by crying, screaming, hitting the couch, the camera stays with her,
  3. 1. I'm not sure there's an easy answer to this question. Throughout the decades the men are always trying to woo women, and be respectful, yet also flirty. The style in which they do this changes a bit. In the 30's the Dick Powell's, Fred Astaire's, Nelson Eddy's were a bit more 'innocent' and sweet. In the 40's the women took a bit more control (Ethel WAters in Cabin in the Sky, Betty Garrett, even Judy Garland in For Me and My Gal or Summer Stock). In the 50's we saw more of the alpha and beta male characters - Howard Keel, Gene Kelly, Donald O'Connor, Gene Nelson - competition was either
  4. 1. This begins in the style of a classic backstage musical- we're seeing the audition process - except it's children, not adults. It's looking backwards by showing us a 'backstage musical', it's already looking forward by focusing on youth. We're also not seeing full songs - if you watch a Broadway Melody or a Golddigger's movie, they were rarely interrupted mid-song - the song was always sung through - In that way we're also seeing disruptions. We're seeing more real-life, people putting their kids to work, and people not getting jobs. we see (a la 42nd st) some preferential treatment - ball
  5. 1. I think it depends on the film. When you're watching a musical you're already watching something 'stylized' and 'fantasy' in some way. People 'stop' the action to sing/dance their feelings. Even though the song/dance may move the action along, it's already stylized. Minnelli so lovingly films every scene in An American in Paris that I feel that the final ballet fits in easily with what we've already seen. Maybe that means the rest of the film is already using a 'less that realistic, stylized approach. Sure, there's a fantasy feel to it, but throughout the movie we've seen Henri perform, we'
  6. 1. The pre-dance movements lead into the dancing, slowly. First, as the professor is doing the exercises O'Connor is nodding his head in rhythm, then even his funny facial movements are done in rhythm. But, all is done in light, quick movements, just like the tapping. They move to the curtains an play with them, the play builds into the dance. As they move away from the curtains O'Connor especially is moving in legs in wider movements and clapping his hands (making tap sounds), so that when the tapping does begin it isn't quite unexpected or 'jarring' to the ear. Just before they jump up on th
  7. 1. In the 50's we were beginning to see more musicals that took place in different time periods, women in the late 1800's West - 7 Brides for 7 Brothers and Annie Get Your Gun among them. The tom-boy role wasn't completely unusual. Day's Jane is a woman trying to fit in with the men, which I suspect is something that was happening more in the 50's, more women entering the workplace, having had the WWII experience of women doing men's work. Society was still fighting against it, but it was slowly starting to change and maybe Calamity Jane is trying to show that? However, even in seeing that we
  8. 1. There are lots of open arm hand gestures - welcoming everyone into the song. They are having fun - playacting a whole scene or idea in one line of the song. Fabray walks by playing the Femme Fatale while Levant does a comedy bit with the ladder behind. They are comfortable with each other, and having fun. It's not a love song/wooing moment as we saw earlier in the scenes both in the 30's & 40's (Rose Marie, Top Hat, For Me and My Gal, Cabin in the Sky). No one is trying to impress another person. The dancing that the 3 do together is lighthearted and fun, they're laughing as they avoid
  9. 1. As she first enters the room after he wakes she sits by the bed, leaning on it, as if she's praying - sending up a thankful prayer for his recovery. As it moves outside it shows time is passing, he is recovering and she is getting back to her daily routine. But, as she takes his shirt down she once again feels grateful for his recovery and his love, and she wraps the shirt around her as if he is embracing her. 2. I think some of the song could be sung as a lullaby to a child, but certainly the meaning would be different. However, most of the words could easily translate, saying that
  10. 1. The movement is choreographed carefully with the music - as she chases him up the bleachers the music is both crescendoing and getting faster - matching their speed. 2. As he walks out of the locker room the music is already playing, cluing the viewer in that a song is coming. As he attempts to pass Garrett the start and stop of the music matches their steps (this also answers question 1 above), this 'choreography' also tells us we're about to see a song. Even as she starts to sing, her first word "Hey" isn't so much sung, as shouted, then she eases into the singing.
  11. 1. I honestly don't remember my first Judy Garland movie - she was just always there. Before cable The Wizard of Oz would only be on once a year, and we would always watch that. I also recall being 5 or 6 and having my mom wake me up in the middle of the night just to watch Meet Me in St. Louis. (again, pre-cable!) 2)This was initially a hard question for me to consider, since both of the clips/movies are ones I'm familiar with. But, thinking about the comments written by Prof. Ament about the scenes I tried to look at them with fresh eyes. In both scenes you see Garland is not afraid to
  12. 1. The movie/scene starts in the White House - the home of the President of the United States - the leader of the country. Cohan walks up the stairs passing paintings of former Presidents. There is a huge American Flag directly behind where Cohan sits as he begins his conversation with the President. 2. By the time the film is released the term "Yankee Doodle Dandy" is well known - Cohan says "I was a regular Yankee Doodle Dandy, always carrying a flag in a parade, or following one." The President says he hopes Cohan hasn't outgrown that feeling. He also refers to the Cohans as Irish-Amer
  13. 1. I feel like in this scene the Dale isn't letting Jerry lead the dance (although he does a couple times). She is mirroring his moves at some points during the dance. She doesn't try to one-up him in her moves, and he doesn't try to one-up him. They're having fun together. For the 2nd couple (Horton & Broderick), you can tell that she's running the show- she is the brains! 2. I feel like in this movie, the couple is portrayed more as equals. The woman doesn't need help or saving. She isn't 'helpless', whereas in something like RoseMarie, even though she has a goal, but she needs a m
  14. 1) From the very beginning you see that the Count is confident and a lady's man - he is not uncomfortable holding a woman's garter, he easily zips up the woman's dress - and adds a 'voila'. Later, when he opens his drawer and puts the gun in you see he's actually adding to his 'collection' - this isn't the first time he's been in this situation. 2) From the very beginning of the scene sound is used in an interesting way. We're looking at a closed door, but the voices start quietly and get louder as they get closer to the door and after the door is opened. The same thing happens as the hu
  15. 1) I feel like in the first scene MacDonald has the upper hand, so to speak. Even though she is the woman, she is in charge. Eddy has to woo her, to prove his worth, etc. She's interested in him, but isn't going to show it, he has to work to get her attention. In the second scene they are more familiar with each other, they've known each other a bit longer. She is in an uncomfortable embarrassing position. She can handle it as long as no one she knows sees her, but as soon as he walks in her demeanor changes. She's still proud, but she also doesn't want to be seen in a vulnerable position.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...