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Everything posted by janey

  1. Welllll -- my Rays (please, try to control your laughter. They're my hometown team and I'm ride-or-die. See: my devotion to the Buccaneers.) just took the series with the Astros literally 15 minutes ago. It's just one series and probably won't matter in the overall scheme of things, but I enjoy it while I can. I too gave up baseball. Chores. My writing projects. And sleep. Lots and lots of sleep. But I found community. Great discussion, both here and on Twitter. And what I think is a real passion and interest in film studies. Looking at online programs that will let me continue learning, al
  2. I watched "The Boy Friend" for the first time yesterday and I LOVED it. It's trippy. It's vibrant. And yes, it's a little weird. Once I figured out there were three things happening -- the literal play on stage, the backstage antics, and the fantasy numbers -- I settled in for an enjoyable (to me) couple of hours. One takeaway I have from this marvelous course is that films are evocative of the times in which they are made -- and "The Boy Friend" is no exception to that. The world was a little mad in '71, and this picture fits right in. Plus Antonia Ellis's Maisie and an impossibly young Tommy
  3. Deciding on a whim to take this course was one of the best things I've done for myself in a long time. Thanks to time and life, I'd forgotten how much I enjoy classic cinema. And my appetite for such things has been so whet, I'm looking into taking online courses in film studies, with an eye towards maybe even getting my Masters. I'm anxious to learn more! Plus, I've encountered and made the virtual acquaintance of some very lovely people -- bonus! It's been just a great experience all the way 'round. I feel like this is the last week of summer camp and it's all a little bittersweet.
  4. I can't believe Tracy Lord would marry this version of C. K. Dexter Haven not just once, but twice.
  5. Am thinking about creating a Spotify playlist featuring songs from the movies we've been watching this month -- and would love some suggestions about what to include. I wouldn't mind including versions of the songs that were covered by other people -- such as Sinatra's rendition of "Luck Be a Lady" from Guys and Dolls. And that's a good place to start! So...suggestions? Thanks in advance!
  6. Napoleon-something. I remember hearing this as a really little girl and wondering if this was the real Napoleon.
  7. #2 - Mr. Griffin was George Baxter's most prominent client on "Hazel," played by Howard Smith (thanks, IMdB!)
  8. I'm playing catch-up with all the films I recorded last week while out-of-town; coincidentally, I watched On the Town and Easter Parade back-to-back. So much Ann Miller goodness -- what a talent and such a beauty! I did appreciate seeing her with hair at a normal volume, as when I was a kiddo in the '70s, I remember her hair pretty much having its own zip code.
  9. There's a page on the Canvas Modules section, in a group called Resources that gives Film Viewing Recommendations. Here's the link (not sure if it will work here but let's try it anyway!) https://learn.canvas.net/courses/2206/pages/film-viewing-recommendations?module_item_id=218024
  10. I'm also going to try and catch as many films as possible when they're aired on Tuesday/Thursday, but am setting the DVR in particular for Road to Bali, The Band Wagon, Silk Stockings, Singin' In the Rain (which I think I have completely memorized), Guys and Dolls (mostly because I love the score), A Star Is Born, and my personal, all-time favorite, High Society. I adore that movie like it's my job. PS: TCM is showing The Philadelphia Story on Wednesday night at 8 pm EDT -- making for a nice bookend to High Society on Thursday. Two sides of the same coin. Or something.
  11. Here are the recommended movies for the week: Top Recommendation: Singin’ in the Rain The Double Bill: Singin’ in the Rain and A Star is Born The Quartet: Singin’ in the Rain, A Star is Born, Guys and Dolls, and Gigi
  12. I saw SOTS as a young kiddo and as a young adult, each time with my parents and each time on the big screen. Before each viewing, we had conversations about race and the time in which the film was made -- keeping both in context. I recall enjoying it as a youngster, singing along with "Zip A Dee Doo Dah" and being charmed by Uncle Remus. Upon my second viewing, I understood much more about race issues and appreciated it as perhaps a sign of the times. I was fortunate to have parents who laid the groundwork for intelligent viewing. Taking it in context helps when viewing, I think -- and allows
  13. I look at stage and screen versions of musicals as separate beasts, for they each bring something to the presentation that the other cannot. I will cop to the fact that much like I often think the book is better than the movie, I usually think the stage version is superior to the film version. But that is just me. I agree completely about Sweeney Todd and ALNM. I think Sondheim might be inherently tough to translate to screen without proper casting, as his material is vocally challenging and the themes are such as not to work as well on screen as they do on stage. It's been years since I've
  14. There are good, new musicals being produced these days, with many of them launching touring companies. Musicals today, as with any art form, are reflecting the times in which they're created. Such shows as Dear Evan Hansen and Come From Away are lovely and very current, dealing with issues such as alienation/needing to belong and a real-life incident involving a plane diverting to a town in Canada on 9/11. Wicked is another show that has legs for days. This season's Tony Award-winning Best Musical, The Band's Visit, is a lovely, thoughtful piece based on the movie of the same name. And of cour
  15. I cannot remember if my first Judy Garland picture was The Wizard of Oz or The Pirate — but I knew she was extraordinary, even at my young age. I appreciated watching the clips from Easter Parade and For Me and My Gal because I was reminded of what a gift Judy was to us, as I recently I have been thinking of her as simply Liza’s mother. Shame on me ? especially when the musical number I would personally like to perform myself in an alternate world is “Get Happy” from Summer Stock.
  16. I didn’t get DVD personally until you mentioned it but YES! I just thought that black wig made him more attractive ?
  17. I also find The Pirate goofy and endearing as a result — although I still am confused or something by the HUGE similarities between “Be A Clown” and Singin’ In the Rain’s “Make Em Laugh.” Maybe it’s just me, as even Cole Porter never seemed too fussed by it.
  18. On the Town is a must for me. It's the first film to feature musical numbers shot on location -- and the performances are fun (especially Jules Munshin, Betty Garrett, and Alice Pearce.) Plus it's Kelly AND Sinatra. It's a hellava film ?
  19. 42nd Street was the first musical on Broadway proper I ever saw -- albeit in 1988, literally three weeks before it closed. The only thing that was notable to me -- and that I still remember to this day -- was the opening, when the curtain rose, stopping almost immediately so that all the audience was looking at were tap dancing feet. That blew me away.
  20. And here I only knew Gene Nelson from his turn as Buddy in "Follies" in the OBC. Thanks for telling me a little more about him.
  21. I thoroughly enjoyed the podcast -- even listened to it twice while running errands this morning. Professor Ament brought up a couple of interesting points that I'm continuing to ponder: • What can a film musical do that a stage (Broadway) musical can't? I am a serious theatre fan, in addition to loving the movies -- but this question is one I've not considered before. The film camera's ability to provide multiple shots and perspectives is the primary one, as Dr. Ament and Dr. Edwards notes. Additionally, there's the ability to go BIG, with sets and props, thanks to the size of soundsta
  22. Once upon a time, I took an adult tap class. I was the youngest of the students by at least 40 years -- but that made no difference, as we were all in it together. For our final class performance, we tapped a routine to Glenn Miller's "In The Mood." In my mind, I was Eleanor Powell: graceful, languid, precise, glamourous. However, I'm pretty sure I looked just like a less-trained, less-talented Ruby Keeler as I was counting and step-ball-changing and trying to remember to smile. Eleanor Powell was sheer magic to watch. Ruby Keeler had spunk. And, aside from Lou Grant, who doesn't love s
  23. 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)? I watched the clip a couple of times, just to soak it all in (and was always amused by the dog sleeping on the sofa near the door, unbothered by all the human antics.) The Lubitsch touch is certainly engaging: the camera cuts to the garter, the pearl-handled, almost delicate pistol, the desk drawer full of similar firearms. Couple that with Chevalier's breaking of the fourth wall -- I see the camera as a slightly subjective object
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