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Stasa

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  1. Had this performance been more theatrical and expressive, which to be honest there's still a sense of it being theatrical here, it would have lost that intimate feeling. Making it a bigger song makes me imagine there being more of an ensemble and more going on. I like that it has a more personal feel to it, especially since it starts off being more intimate. However, I can see her belting the song some more, when she starts to belt it then comes back down, I got excited then calmed along with the rise and fall of her voice. Then again, that could very well have been what they we
  2. One of the first noticeable things about this scene is that it has a lot of passion in the acting. If I saw only this scene, and knew almost nothing about My Fair Lady, I wouldn't even think this to be a musical. I like that the start of the scene has soft music playing in the background to match Eliza's mood, and as you hear Higgins in the background the music is harder to hear, until it stops abruptly as Higgins enters the room. It highlights that she can't even be alone, or she can't even have the chance to be herself, in her own thoughts. Higgins has infiltrated everything t
  3. The alpha male changed in that he wasn't so stern, he wasn't so "my way or the highway." Instead, he would still have a sense of command, but the females were really starting to take over. They were making their own decisions, and they weren't waiting for a man to come along and save them, so to speak. The men became helpers, guys that would help the lady to get where she was going, and if they fell in love along the way, so be it. The guys also showed more emotions instead always having to be tough; they could be a little more exposed, to the right person. In both of these clip
  4. Like many of the old musicals, this brings back that classic backstage musical feel. They're trying to put on a show and are in the process of casting for the show. The audition we really see is one of vaudeville style. The music adds a pinch of comedy to simple moves, such as when Baby June lifts her leg up. Rosalind Russell steals the show with her entrance, as her character often does throughout the movie. She immediately begins barking orders at everyone, her kids, the orchestra, and the men in charge. In doing so, she takes charge of the stage and the scene. Even as the oth
  5. When there's a highly stylized scene in a film it does not mean the whole film needs to be done that way. By making a scene stand out it gets an emphasis that it wouldn't have if the whole film matched that. Does it need to be less-than-realistic? Probably not. It all depends on how that stylized scene is supposed to make you feel. To me, Jerry Mulligan isn't too unlikeable here. I can see what he's doing with that student, "Don't waste my time by trying to act the way you imagine you should act, and I won't waste your time by playing your little game." It's the same thing I do
  6. The pre-dance movements are just as calculated as the dance routine, however, as it has been pointed out, they are not as grand. Their arm movements and steps sync up to the words they are saying, or rather the "beat" they are creating with their words. as they break into dance their movements become grander, their arms become more open in their movements, and their steps bigger. Through the whole thing there is a fluidness of their movements, even before they actually start dancing. The professor was very stiff, I noticed, during this whole scene. He hardly smiles, except at th
  7. In this film both representation of women are portrayed. Calamity is not in the least bit feminine, and she's just fine with that. Wearing dresses and overall being concerned about her outward appearance doesn't fit with what she does. She protects the town and the stagecoach; she shoots, she rides, she rides and shoots, and she shares her stories of her adventures with the guys. Wearing a dress and worrying about how she comes across would only get in the way of that. She's a female, everyone knows she a female, but she isn't seen as a woman, and I don't think she totally under
  8. In this clip all the characters seem to be equal in talent since there aren't any step routines that showcase an advance knowledge of dance. The singing is done in more of a talking way, as in there are not many long notes held, the pace is similar to conversing with each other. They all seem to interact with each other, as though no one is to be left out, the only exception being when the one goes to get the handkerchief. Most musicals we've seen up to this point was more of a sing - and - dance type of thing. If there was a well known dancer, like Fred Astaire, we could expect
  9. The start of the scene is darker, until she hears Joe call her name and she rushes in to see him awake and alive. The scene starts to let some light in, specifically when she looks up to thank God for answering her prayers; you can see her face is illuminated as she smiles a grand smile communicating with God. When she begins to sing, she seems to sing to Joe, almost specifically, as if telling him how he makes her feel. She wants him to know that even during his mistakes, because of his gambling "sometimes the cabin gloomy and the table bare, but then he kiss me and it's Christ
  10. As mentioned, the music and the actions are synced up perfectly. The ball landing in her hand matches perfectly to a pause in the music. When she is chasing him the tempo of the music speeds up. A transition in their movement coincided with a feeling of transition in the music itself. Just as the location adds obstacles for him to go through, over, and around, she makes herself an obstacle he must go around, or under to get away. There is a cat and mouse type of thing happening here, and the music portrays it, if you were to listen to the music alone you would see that it would
  11. I think, like many others, my first Judy Garland film was The Wizard of Oz. Because I was young I didn't have much of an opinion of her, after all I wasn't watching and dissecting movies then like I occasionally do now. I wasn't picking up on patterns in acting, lighting, cinematography, or co-star interaction, but if anything, I was probably hypnotized by her singing, I mean who wasn't mesmerized when she sang "Somewhere Over The Rainbow"? Especially at such a young age. Since then I have seen a few of her movies here and there, often times I'll be watching a movie and suddenly
  12. From the very beginning of this clip nationalism is front and center. The butler is smiling ear to ear with the chance to meet Cohan (again) and talk about how he last saw him, singing about "that grand ol' flag!" The staircase they ascend is lined with portraits of the Presidents, and when they switch to a medium shot of the two of them you can see those portraits even better, you can even name who they are. Throughout this whole clip, if the flag wasn't shown, it was mentioned. Roosevelt even says to him, "That's what I like about you Irish-Americans, you carry your love of Country
  13. The whole scene actually tells its story through the filming, the dialogue helps and adds something extra, but the whole thing is just as easy to follow without sound. Close - ups are used for emphasis, such as when she is yelling about the garter there is a close up, when she pulls out the gun there is a close - up on that to bring attention to those items. With the opening of the clip it is clear that Alfred is a Casanova since the woman is upset to find another lady's garter in the room meaning he's seeing someone else, which is quite ironic since she's having an affair with
  14. I'm not sure there's much of a battle of the sexes exactly, but there is a sense of a challenge. Travers does initiate the dance sequence as he sings and walks around, looking at Tremont each time he comes around, but she doesn't join in the way he wanted or expected her to. He was looking for her to join as a partner, "I want to dance with you, so come and dance with me." type of thing. Let us dance as a couple, the usual way a man and a woman dance, the man is the lead and the woman follows. When she decides to join him, she doesn't join in the typical couples dancing way, instead
  15. In the first clip there is a playfulness about the scene. The Mounty does not hide his attraction towards her as he says "every time I realize I'm helping you get to another man, it takes the heart out of me!" He even tries to guess what type of guy she's seeing, and when he finds out that the guy is a singer, he proves that he is a singer too. The playfulness continues with Rose Marie trying to exhibit a carelessness about his singing and his song, trying to act as though she doesn't enjoy it and even gives him a shocked look and challenges him at the end. She jokes that he mus
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