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  1. 1. In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? This is such a great vehicle for the saga of Vaudeville v Burlesque. The opening is all the little kids with there cute, appropriate outfits, working clarinet concertos and song and dance. You see the slightest deviation from that with our little balloon girl. Mama Rose seems to know what is coming, but denies it right up through and into Louise's transformation into Gypsy. That she refers to all the service clubs (Elks, Odd Fellows and the like) shows that old fashioned "you scratch my back" mentality. 2. This is the introduction of Mama Rose in the film. Comment on Rosalind Russell’s entrance and performance especially as a traditionally trained stage and film actress. I will admit, that while I enjoy this performance of hers, it is not my favorite Russell film. "The Trouble With Angels" is a fantastic, yet little known film set in a girls' convent school. Her early control of every situation as Rose is wonderfully scattered to bits by the time she get's to "Rose's Turn". You see throughout the film how things she used to manage because decidedly unmanageable. From June, to the boys, to Herbie, the girls and finally Louise; each very manipulated piece of her life slips away. She needed to be completely torn down, before she could have her come back and her sable coat. 3. Pay attention to the song “Let Me Entertain You” in this scene. Is there anything you notice in Sondheim’s lyrics that are sly, subversive, or edgy? You can also discuss the song’s performance and staging as disruptive (or not). Oh my glory, but I am obsessed with Sondheim lyrics! The man can certainly turn a phrase and you can spin it, turn it upside down, read it forward and back and come up with 2000 interpretations. This song starts as Louise's downfall and becomes her triumphant battle cry as the movie progresses. He cleverly takes somewhat innocent words and fills them with so much double entandre that it will make your head spin. You see this in his later writing and his clever word play. The song is always played to the precenium; even when Louise uses it. classic vaudevillian staging, turned on it's head for burlesque.
  2. Band Wagon is certainly not a "stand and sing..move over here and stand and sing again" musical! The interplay of the characters; especially in the That's Entertainment number shows collaboration and friendship. They see truly to be listening to one another and not pulling focus away when one takes the lead. The costumes are cohesive without being similar. The color palette flows well between each character and the set. You can tell easily in this number that this group interacts regularly and are friends!
  3. I just had the opportunity to watch this film last night and truly enjoyed it! The love and tenderness Petunia shows for Joe is a credit to Miss Waters and Mr. Vidor. She smiles through the daily tasks when he is up and around simply because he is there with her. Little Joe loves her deeply, despite his flaws. She never shows any disdain or judgement about his ways and simply points him toward God. If the song had been a mother singing to her child, I think it still would have held the same amount of tenderness, but a different take on the love. It's apparent that Petunia is attracted to Little Joe and shows it in her glances and smiles. The direction toward a child would have been less of a "chemical" attraction and more maternal in nature. As far as the thoughts on Black America post war? It seems as if the film is catering to the stereotypes more so than truly telling the good vs evil story. I would have like to have seen a more fleshed out sense of the characters, rather than thin portrayals. That being said? I did truly enjoy the file\m! I teared up several times, laughed out loud once or twice and was rooting for Little Joe in the end!
  4. Thinking as a director, I can see the "game" in the scene. She's continually striking out, but keeps on swinging! Fun play with the up and down of the set. In movies of this era it's easy to see when they're about to sing. The action stops and they breath! I enjoyed Miss Garrett much more in On the Town, but I agree she is the aggressor in both films.
  5. I have to say my first Judy Garland movie was probably Oz, and all I can recall of my childhood memories if being terrified of those stupid monkeys! That being said, see how brave Dorothy was made me feel I could be brave too! Easter Parade is one of my favorite films of hers and one that I watch over and over. The she interacts with both Astaire and Kelly in the two clips is similar to me. I don't see much difference in her interpretation of the characters. Summer Stock to me is one of the films where she actually creates a world in which we as the viewing could possibly live, quite happily! Although, I am quite partial to her story telling in the Trolley song!
  6. I love this movie! The subtle use of flags and portraits puts you in mind of true patriotism. The Presidents admiration of Irish Americans is a great reminder of how young the country was and how it was built. I love that the film begins with the President and Mr. Cohen. It provides a great setting in order to bring the film back to the start. It would have been too confusing to start at the parade. The conversation between the two men is the foundation of this movie.
  7. My feeling is that Maurice Chevalier is playing the same character he has in every one of his films. The sound bite I found the most intriguing was the french doors rattling, obviously indicating an entrance that was not to have been expected. (Think the loud clearing of ones throat when they want to be seen) Then theme of affairs, and beautiful apartments and clothes show that the producers are providing the escape audiences want. something far beyond there current situations.
  8. The first clip from Rosemarie really sets the tone for the relationship between Nelson and Jeannette. The attraction is there and his feigned jealously of having to "bring her to another man" is quite fun to watch. You can tell that she is truly impressed by his voice and her gentle mocking shows a little of her jealous side as well. The second clip in the saloon is interesting to me, because Jeanette really doesn't appear embarrassed until she notices that Nelson is there. He attempts at being more provocative cements the notion that she needs to behave as such to please a man, or "get the guy" I have seen a few of their films and had always viewed them as stereotypical operetta fodder/ Boy meets girl/boy loses girl/boy gets girl. I'm hoping to watch them with a little different perspective now.
  9. I agree that this scene certainly would be the "escape" needed during the time period. Ms Held was delightfully coy during her song and her comments about Ziegfeld being a "little boy" would be seen as sweet and naive. Had the code not been in force, I am sure that the costuming would have been much more revealing during the song, and she certainly would have been in some stage of undress with her maid while they discussed the beautiful flowers, the note, and the gentlemen's intentions. As far as the themes? Money equals power it seems. The orchards costing thousands of francs; handing the door man a 5 pound note (clever line about losing weight!) all point to that.
  10. I am having an issue on my PC. I can hear the tap track, but not the 4 portions of the song that need to be dropped in order. I'm going to try the one suggestion of pausing the tap track and see if that works.
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