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Audrey at Manderley

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  1. While An American In Paris is stylised, it isn't excessively so. The streets look like real streets, and the café looks like a real café. Jerry and Adam's apartments look like actual "lower rent" apartments that could have existed at that time. Yes, Paris probably never looked exactly like Paris did in this film, but the settings are entirely believable and crafted with exquisite care. There isn't a jarring moment, or a sense that this is taking place on a stage or backlot, everything seems to be lived in or has been lived in. While the final ballet scene is very stylised, as with the sequence
  2. There is no emphasis on the individual in this scene, from their costumes to their singing and dancing, their is no singular character who stands out more than the other. They sing and dance and act in a way that constantly draws the other characters into the scene rather than overshadowing or dominating them. The number begins with them trying to convince Astaire to join not only their show but the musical number they are performing. Astaire joins in relatively quickly, and it is shown to be to his benefit, as the entire number is crafted so that each piece connects with the next as the chara
  3. Even before O' Connor and Kelly start dancing, they are already moving with a certain musicality, as in the do not move as people who do not or cannot dance do. Their posture and movements are unlike those of "normal" people especially O' Connor who makes many exaggerated body gestures. They also circle the professor, whilst singing, in a way that is in perfect synchronisation and has real intent of movement. The straight man provides a contrast to the funny and exuberant dancing of O' Connor and Kelly. He also represents audience scepticism, as in he is as confused by the sudden
  4. The film opens in the White House, which is probably one of the most recognisable symbols of American national identity. The walls are lined with the paintings of the American presidents who helped to establish the country. The fact that Cohan meets FDR, who at the time of the film's making was not only the president of the united states but a president who believed very strongly in national unity and sacrifice for the good of America, illustrates that no matter one's origins as an American, if you work hard and dream big, you will one day be recognised by the highest powers in the country for
  5. This is definitely a competitive dance sequence, as Rogers shows Astaire that she can indeed keep up with his fancy footwork, and even throw in some of her own, which causes some side-eye from Astaire's character, who clearly expected to her sit passively and watch him dance for her. The entire film is about Rogers not accepting the role of prey, but rather trying to determine whether or not her love for Astaire's character is ill advised or not. She is constantly rebelling against male characters who try to make up her mind for her when it comes to who she should be with. She repeatedly prov
  6. The Lubitsch touch seems to be very much about subtle suggestion. It's never expressly said (well not in English anyway) that Alfred is an utter philanderer, but his being confronted by his lover, who is a married woman, with a garter who belongs to yet another woman, communicates this very clearly. Also the fact that he can zip up her dress, while the husband fumbles with it, reinforces that he's very experienced with helping women dress and undress. The entire scene plays out very melodramatically, but there is also much humour, and this shows that while Alfred is a lover to many women, he d
  7. The interactions between the two characters in the two scenes are not ones that depict reciprocated affection, as in Nelson Eddy is the one who portrays affection and attraction for Jeanette MacDonald, who seems extremely unimpressed by his "Casanova" ways after he serenades her. In the second scene, Eddy's admiration for MacDonald is far less about simply being attracted to a pretty girl, but rather about her being brave and willing to suffer humiliation in order to maintain some kind of economic independence. The fact that he feels upset over the way she is treated by the other patrons is cl
  8. This definitely exhibits a brighter side of life. I assume that this takes place during the Edwardian era, but the clip shows none of the poverty and class disparities that would have existed at that time, especially in England. It reminds me a lot of "Born To Dance", which is a lovely film, but doesn't even look as if it's set during the height of the Great Depression, because everyone looks happy and is employed. That seems to have been the standard for Depression era musicals, the fact that there was little or no reflection of economic suffering or a lack of prosperity. Also another thing I
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