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Victoria Moore

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Everything posted by Victoria Moore

  1. After seeing "Funny Girl", while participating in the live Twitter chat, I realized what makes this musical so powerful is the contrast between the two parts of the story and how much the characters grow as a result. The songs ultimately punctuate the stellar acting. 1) 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 been overblown, extreme and lacking in the subtlety that made her film rendition so touching and memorable. The scene between Fanny and
  2. George Cukor's sympathy for female characters and actresses really comes across in this scene from My Fair Lady making it more complex than it originally appears. When I first saw the film, I was so swept away by Audrey Hepburn's beauty, I didn't see the burden and unhappiness it caused her to be treated as an object by a misogynistic alpha male, Professor Higgins. She isn't so much a successful makeover recipient as a plaything in the hands of an emotionally immature intellectual who doesn't initially see the value of true feelings over science. 1) Explore any common themes and filmmakin
  3. Despite the two vastly different characters Robert Preston plays in The Music Man and Victor/Victoria his fluid masculinity and generous acting style permeate both and make him utterly believable and timeless. Everytime I see these films I enjoy them because his portrayals are so refreshing and sharp. 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? Compared to the past I see more complexity and vulnerability added to the performances indicating that society has loose
  4. Besides Doris Day and Audrey Hepburn, Rosalind Russell is one of my favorite style icons, and in Gypsy as Mama Rose, she utilizes all of her sartorial superpowers in the role. As the musicals started to become more "disruptive" in the 1960s her costumes in this film give her characterization a feminist edge that also personifies who she is and how she tries to manipulate Gypsy. Strong, but vulnerable and dismissive, she also pushes her to be her best and realize her genius as a striptease artist. 1) In what ways does this scene look backward to classical musicals and how does it look ahea
  5. Every time I see An American in Paris I can't believe it was shot in Culver City, California because it looks exactly how I envision it looking in the 1950s. Vincente Minelli was such a stellar talent he was able to help the audience suspend disbelief no matter how many times they'd seen one of his musicals. 1) 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? No, because the film is supposed to be as authentically Parisian as possible to contrast with Jerry Mulligan's American s
  6. Moses Supposes is one of my favorite tap numbers and is definitely on my dance bucket list to learn one day. The way Gene Kelly and Donald O'Connor turn a simple phrase into a raucous routine, also appeals to me, because it reminds me of urban rappers, like Ice Cube, Eazy E and Snoop Dog, who created rap songs out of street slang and vernacular. Visually it strongly features the strength of both dancers, and shows how complimentary they are as a duo too, making it a timeless piece. 1) How do the pre-dance movements of O'Connor and Kelly compare to their actual dance movements? Prior
  7. First of all, I'd like to say something about the way Doris Day uses clothing in Calamity Jane. By this time, she had already become a style icon so when she does transform into a more feminine version of herself, as the character, she's believable because Day herself would've transformed whatever she wore to suit her own signature look. On any other actor, who wasn't as cognizant of the power of fashion, this might not have worked but on her, it made her more realistic and unique. 1) As you reflect upon female representation in the 1850s, where do you think this film character falls in t
  8. The main thing I noticed about this number, That's Entertainment from The Band Wagon is the charm of the piece resulting from the variety of singing and dancing from John Buchanan, Nanette Fabray, Oscar Levant and Fred Astaire. It feels real and believable when unprofessional dancers are paired with Astaire giving it more of a communal presentation. 1) 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? They seem to use pers
  9. Personally, as a contemporary African-American woman, with a family who migrated to Los Angeles, California from Missouri and Oklahoma, I find Cabin in the Sky a wonderful showcase of talent from an ethnic group that was surviving, creating their own style, and fighting for inclusion during a highly racist and separatist time. Today, while there are the blatant stereotypes to put in perspective, from the musical, the historical significance of its existence can't be ignored and should be celebrated as a part of both African-American and Hollywood history. 1) What do you notice about the w
  10. Within this relationship, with Betty Garrett and Frank Sinatra, is a reversal of roles where a woman, who looks and seems physically stronger and more confident is pursuing a frailer, child-like man. It's this dynamic that adds to the humor of their exchange and still makes it a delight to watch every time I see them in Take Me Out to the Ball Game and On the Town. 1) Thinking like a director and editor, describe how each shot spotlights key actions. In the first shot, where Garrett playfully steps in front of Sinatra, then chases him out into the stands the beginning of the song, It
  11. Judy Garland is one of my all-time favorite performers, and although I've been in a few situations when I had to explain to those of the younger generation who aren't familiar with her, why she's considered such a phenomenal talent, I feel the more I watch her movies and listen to her music the more I understand about her, the times she lived in and what it means to really live your art. 1) What was the first Judy Garland film you recall watching? What was your first impression of her? The first Judy Garland film I saw was Wizard of Oz. To this day I still cry whenever I see her sing
  12. 1)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. The White House, with the grand staircase, George M. Cohan walks up on his visit, is how I picture a visitor experiencing it for the first time. When he passes the wall of paintings, including George Washington's at the top, it's as if he becomes a contemporary element of this historical tableaux. His further entree into Franklin Delano Roosevelt's oval office, that's decorated with various ship
  13. 1) What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? In Isn't It a Lovely Day? I also see the theme of resistance by Ginger Rogers (Dale Tremont) to give in out of vulnerability to Fred Astaire (Jerry Travers) just because the storm is making her nervous. This conflict comes up again with the Italian designer, Bernini, when he tries to manipulate and control her out of jealousy over Travers. These battles aren't really traditional power struggles, because the objective isn't clearly spelled out, but staged confrontations where both sexes c
  14. Hello Fellow Musicals Buffs and Fans: My name is Victoria Moore and I'm a professional fashion/feature writer based in Los Angeles, California. When I'm not writing, I love to read and dance, especially tap. I started about 10 years ago, at "Santa Monica College", and it's really increased my love for musicals. Currently, I'm earning my MA in Fashion Journalism online through "Academy of Art University" [...]. Throughout my career, as a writer, I've tried to incorporate my love for dance by writing articles and blogs about tap, swing, etc., and using it when I work with students as a way
  15. I repeatedly watch "Singin' In The Rain", especially the "Moses Supposes" number. Ever since I started tap dancing, over 10 years ago, I've tried to do various parts of this dance and have always have fun trying. The thing I love about it so much is the way the dance comes together from a sort of rap number about speaking correctly and that's the way I learned tap is by singing the steps, such as "Shuffle, flap, flap, hop, hop, step..." repeatedly.
  16. Physically, while both Ruby Keeler and Eleanor Powell are both very beautiful and graceful tap dancers and utilize their femininity and sartorial style effectively, the main thing that distinguishes the two is their height and method of tap. Keeler seems shorter and more pixie-like than Powell, so she accentuates her dance with speed, which works well for a smaller dancer and she's also a clogger placing emphasis on the individual sounds of her taps instead of the overall physical performance. Powell, a taller, and seemingly elegant swing style dancer, uses her whole body and space around her
  17. 1. 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 quick camera shots of placement, at the bedroom door, at the woman's clutch bag, etc., are very suspenseful and comedic making the spin Lubitsch puts on the drama more sophisticated and in keeping with the French the characters are speaking. Their broad gestures utilized also don't make the use of English subtitles necessary to understand the scene as everything is dramatized clearly. From the way, Renard handles the disc
  18. In the first scene, where Nelson Eddy's rowing the boat and expressing his attraction for Jeanette MacDonald in "Rose Marie" I notice a lot of tension between them initially when he tries first to verbally win her over. His attempts to find out if his competition is superior to him by their vocation increases the suspense until MacDonald tells him his rival is another singer. From there, he confidently belts out a beautiful song, "Rose Marie", that eventually cracks MacDonald's frosty veneer because it sounds as if it was composed specifically for her. Strangely the tension returns when h
  19. Yes, I believe the clip where Florence Ziegfeld woos Anna Held in "The Great Ziegfeld" (1936) is more optimistic than realistic because instead of emphasizing his blatant attraction for her he exhibits a romantic gesture by sending flowers to her dressing room. This approach is totally appropriate, however, and more palatable for a Depression-era audience looking for escapism instead of realism in their films. Since their goal is to get away from the harsh truths of their daily struggles it seems very charming and empathic. The way Ziegfeld and Billings, who're rivals, are portrayed in H
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