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  1. That was not her in "Funny, isn't it?"??? Sounds an awful lot like her - where they sometimes don't make an effort to pick up a "tone". The one thing I truly hated about the film "West Side Story" was the awful dubbing for Natalie Wood.
  2. What I have noticed about the last grouping of musical films is that they let the leads sing their own parts - Rosalind Russell, Lucille Ball, Peter O'Toole, most of the actors in "1776", Omar Shariff, and on. NO one could tell Lucy not to sing once "Ricky" was no longer in charge, I assume, and thank goodness because as bad as her voice could be, her rendition of "If He Walked Into My Life Today" still brings raging tears to my eyes. And it was about time we got rid of the "looping" But I am watching "Funny Girl" yet again and I think it is OVER-directed. The exact eye angle from Fanny when Nicky looks at her in this way or that. The Broadway show must have been phenomenal because you can't do that much. It also makes her the standout singing wise because her opposite lead cannot at all. I have to add that while I adore the song "People" - I do NOT understand the lyrics at all. I think people who need people are the needy ones that have created a world of spoiled kids!! (not really joking - just trying to understand that lyric for years and years!)
  3. Thank you for the time and effort it must have taken to amassed such a course. I am very regretful that I never knew there was a Hitchcock course because I watched all of those films before and AGAIN and never got to participate. But I learned something about myself when I took this course. I like musicals. I am even MAD about some of them. But I also am very benign on many from the 20-30s and even '40s until we got to Sinatra and Kelly. And while I enjoy and respect so many others it is the dancing that drew me in and then the singing second. The plots were tertiary. I want to say for sure that leaving out "The Music That Makes Me Dance" out of the movie version of "Funny Girl" is as sad as the fact that when I listen to the Broadway soundtrack, THAT is the musical I grew up with (when my parents went to see it on Broadway) and I never could feel as excited about the movie version - it became too washed out. It just lost all its beautiful earthiness. And I learned that you CAN lose interest in a "star" when you see where they go in life and ruin your ideal vision of who you thought they were but their lives went a little weird or the roles they chose or were offered....In ANY case - you learn if you let your mind relent to opening up and seeing, hearing, reading the ideas of those around you. Again - I digress - but THANK YOU!
  4. Even though this is based on what we might consider a more sophisticated plot - being based on "Pygmalion" - it is still a main theme in stories through all time - The more a man or woman pushes someone away, the more they are usually "protesting too much". Also, men love women who fetch their slippers!!! ?
  5. Always having to be different, I guess, I want to start with this thought. As opposed to what the lecture notes say: "Compared to the muted background and Higgins’ black and white tuxedo, Eliza’s red dress and dazzling, over-the-top jewelry stand out" ... I disagree. Her blood-red velvet coat seem to blend in with all the Victorian-like muted background pieces (her dress does sparkle) but it is HENRY HIGGIN'S black tuxedo and white shirt that stand out in contrast - and he is really just that "black and white" no grey areas for that character. HE is RIGHT and YOU are WRONG. Unless you are on his side and therefore, he'll forgive you your mistakes! A totally loathsome and delightful character to watch as he also self-destructs. I did see "Gaslight" and the things that I can think of is the use of that long staircase for important things to place as in this film. And the overbearing male who wants to destroy the female - one quite literally and the other by taking away any sense of "self" and "creating" her in HIS vision - as if he too were allowed to play God. Cukor is a tremendously talented director - which still makes me wonder how he could direct that schlock of a film "A Star is Born" with Garland. He either could not figure out how to cut it down to less than 6 hours other than putting in those voiceover overlays on still frames and then it still went on forever. And a side note to Mr. Rydstrom - NO THIS student does NOT think this is an "EPIC" film. If by epic you mean LONG - yes. But this doesn't hold a candle to "Fiddler on the Roof" or "Camelot". I only see a drunk or drugged up Judy Garland and can really only remember one scene with that awful clown makeup. And those stills that make me wish it were over already. Again, I digress!
  6. One thing that I don't think I would have thought of before, had I not seen "My Fair Lady" again last night and then am doing this exercise a day late(r) is that Preston ALSO "talks-sings" his musical numbers. I always knew that about Rex Harrison but kind of forgot about it with regard to Robert Preston. I love his performance in "The Music Man" but have not been a great fan of "Victor/Victoria" - I think it might be the only performance by Julie Andrews that doesn't please me. I am not against the material - "The Bird Cage" is one of my absolute favorite movies, but this "V/V" just annoys me. I think I also remember seeing him in "S.O.B." and "Bells of St. Mary's" (odd pair, no?) and recall that he is authentic no matter what part he plays. But I don't remember him in them as distinctly as I should to comment more than that.
  7. More like GAGAG me with a spoon! I think she can sing but the thought of seeing these two in that same dang movie -- OY!
  8. "fetching", eh??? ha ha - cute comment. I didn't like him very much until watching some of these films again recently. And I too feel it is good that people are speaking their minds. Not sure how much I've learned, but that could be a fault of my own. Oh - almost forgot to add that I too am a HUGE fan of Charlie!
  9. Don't we consider the fact that "A Star Is Born" was also done THREE times - There was a discussion about "Showboat" being done first as a silent film, then with Irene Dunne and Paul Robeson, etc.in black and white and then the sanitized glitzy version in 1951 with all the dazzle and Howard Keel, Kathrine Grayson, etc. and William Warfield. But "A Star Is Born" was done three times as well - and in my opinion should have been left at the first. Judy Garland version was even worse than Barbara Streisand's. Might not be that important a topic but it bothered me that the lecture video included a thought that no other film had been done so many times and cannot recall now what other film Dr. Ament quoted but it was not "A Star is Born".
  10. I don't care for over-analyzing some fun scenes so I will make it brief. This bit with the Professor and the less than serious students can be seen in all types of movies - some done better than others. This is a "goody". Jerry Lewis uses this same "schtick" years later in "The Nutty Professor" getting the principal to recite Shakespeare and then has him in all sorts of poses with an umbrella for a sword and then wrapped in something to look like a toga - but I digress (a habit of mine). Gene Kelly does a good job of trying to be the less dominant in the sense that he does not get the pronunciation while O'Connor is correcting him along with the professor. His mocking him is funny as he is trying not to be caught (i think that was a Danny Kaye specialty also). I don't get any alpha/beta male thing - just a couple of wiseguys who want to show up the brainiac. It might be irreverent but it is a musical COMEDY. And hands down, one of my FAVORITE DANCE numbers of all time. What IS interesting to me is that Kelly is a bit taller than O'Connor but because of his dance style, he ends up looking a little shorter since he bends more and has a lower plié than O'Connor even when tapping.
  11. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Seems she is leaps ahead of where many characters were at that time - because she is not one-dimensional as in not JUST the "man-chaser" or "dumb-blonde" or sweet and sanguine girl-next-door. When I first watched this film a few years ago (not in my earlier life so many others), I wondered if there was a lesbian subtext that was being buried. Evidently, it was not(?) How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical? I have to really go back and figure out what was before this but this certainly her roles with Rock Hudson and James Garner had her as a fairly one-dimensional character - the sort of nitwit wife or single woman who got what she wanted in the end but ditsy - though I often thoroughly enjoyed those films. Does Doris Day’s bright and sunny persona add or detract from the role of Calamity Jane in your opinion? Please defend your answer. I definitely think it added to the role of Calamity Jane. It made you want to accept her being such a "calamity" so to speak and it lifted the rough exterior so you knew there was something warmer and gentler inside her that perhaps she was too insecure to let out. I love her rendition of "Secret Love" and find it quite emotionally evocative. By the way, I found the lecture notes on this and "Showboat" the most course-worthy to date. Thanks for the input and background material/comments on them.
  12. Americans Celebrate Community and Conformity (title from Lecture Notes for "Band Wagon" Does anyone find it ironic that the House on Unamerican Activities (or HUAC) was spurred on during this same time - so did these plots with were celebrating community and conformity an ingredient in their suspicion stew or did it create their suspicion because writers and producers were promoting those rather than individualism? Just curious if others see the oxymoron here. Not pointing at the lecturers but at that committee which was a stain on American history.
  13. I find it difficult to have to hear a quarter of the 2nd week's review telling me that we can forgive the use of "blackface" in the 1940s musicals because "golly us black folks is jus' sos happy to be a part of y'alls lifes"! I think that person should join Mike Pence and his wifey at dinner as their special guest. Appalled that it could be said and then followed up at the end by saying that one day someone will watch what is being done today and find THAT shocking. Well no sh*t Sherlock! We ARE doing things today that are shocking but in the REAL WORLD - not just on film. So NO - I will not give you that. I will say it was deplorable to go back and watch what I remembered as a cute musical comedy and see Bing Crosby (a child beater by the way) and his co-star in "blackface" and find it just soooooooooo adorable - NOT. It was one of the low points for me of any movie with Fred Astaire - luckily he was not the one to don that dribble.
  14. Besides "West Side Story", where are "Carousel", "Oklahoma!" and "How to Succeed in Business...Without Really Trying" (with 60's version). They are truly classics. I realize there is a limit but I would have definitely eliminated the Judy Garland 3.5 hour "A Star Is Born" because she is wonderful but as a film that really sucked.
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