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About anatolebahorel

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  1. 1. I honestly think Streisand being theatrical and belty with the song would have diminished its beauty. "People," as stated previously, is an introspective, not an... extraspective? Streisand's words came from the heart, a deep dive into the contents of the soul that only music can achieve. She's not trying to do a Shakespearean monologue; she's singing about her outlook on life. Going all out vocally and movement-wise would have distracted the audience from the beauty of the song. It's great just the way it is. 2. This is more of a direction thing, but I noticed that when Streisand is s
  2. 1. The main theme tying those two films together is oppressiveness. Higgins treats Eliza rather poorly throughout the movie, even after she succeeds in what he set her out to do. Afterwards, when she finally breaks down due to her underappreciative situation, Higgins tries to convince her (and himself, most likely) that she's in fine sorts and shouldn't have any problems at all. Later in the scene, he even suggests that her outburst is nothing more than the strain of the day and that all she needs to do is sleep off her troubles. Similarly, the husband in Gaslight is constantly giving his wife
  3. 1. As films and the culture surrounding and influencing them continue to change, so do the characters. In the male-dominated Hollywood of the 30's - 50's, men in the movies were... well, manly. Any male character who was not a properly macho person got relegated to being either the comic relief or the villain. This began to shift in the decades we're discussing; leading men could be more than just an Adonis for the ladies to throw themselves at. They could be bumbling goofballs, or shrinking violets, or even just the tiniest bit effeminate. Robert Preston shows this shift quite nicely between
  4. 1. This whole film could be an allegory for the decline of the traditional movie musical in favor of the newer, grittier fare we'll be seeing in the future. This scene showcases what would've been right at home in a 50's production; a cutesy variety show featuring a bunch of youngsters. Instead of a bright, colorful, well-choreographed spectacle, however, we see a very realistic representation of an amateur theatre setup. It's drab, uncoordinated, and very much beset by rehearsal-induced agitation. We're seeing the back stage presented as it truly is, perhaps for the first time ever on film.
  5. 1. It really depends on the film. In a movie like On The Town, which features a similar stylized dance number towards the end, the sets are very much realistic (being on-location in New York). An unrealistic, fantastical scene in an otherwise grounded film can serve as a memorable break from monotonous set pieces. In An American in Paris, though, where everything is fashioned in subtle ways to look like paintings, a ballet designed with impressionist styles seems like a logical conclusion. It's the grand finale to this art exhibit of a film; the piece de resistance! 2. Well, being portray
  6. 1. Even before they start the actual dance, Kelly and O'Connor are incredibly rhythmic in their motions. They bounce up and down in time with the music wherever they walk, and whenever they use their arms, they move them with rhythmic precision. It almost seems like they're mocking the vocal coach with every move they make. Notably, they seem a lot looser when they begin the tap portion of the number, as if they broke free of the coach's restrictive teaching environment - as well as the restrictions that the Talkie movement brought both of them in the film. 2. In any good comedy duo (or t
  7. 1. It seems to me that the 50's were not a flexible time to be a woman. You were either a feminine lady - always wearing dresses and makeup, playing more passive roles compared to the men's active ones - or you were a tomboy who would eventually realize the error of your ways and get shoehorned into being the former. Jane definitely falls into the latter type, but never truly lets go of her masculine nature. She gets in touch with both the male and female aspects of one's personality, making her a much more complex character than the 50's would normally have her be. 2. I think Doris Day i
  8. 1. You can tell that this is a group of good friends, judging from the way they joke around with each other throughout the number. The performers are decidedly not dancers (apart from the obvious exception... Oscar Levant; the man was a fiend on the dance floor!), so they rely more on visual humor and comical interactions. The laid-back, fun-filled tone of the scene makes the song seem more like a after-hours get-together between coworkers, rather than a big, complex musical extravaganza. It's the backstage experience! 2. Visually, none of the performers are very striking. Everyone wears
  9. 1. I actually got a chance to see this movie the other day! Prior to this scene, Petunia is inconsolable; praying desperately for her husband to get well. When Joe awakens, her spirits are immediately lifted, and the scene appropriately shifts from the dark bedroom to the bright and sunny yard. The mid-song set change reflects Petunia's mood, being brought out of her dismal slump and into a happier state of mind. The song is happy, the environment is happy, everything looks just a bit brighter when things go right. 2. I'm not sure that much would change if the subject of the song was a ki
  10. 1. One big thing I noticed was that, all throughout the number, there isn't a single frame where Sinatra and Garrett are not on-screen at the same time. There are no shots that focus on one specific person; anything that happens features both performers. And no matter how hard Sinatra tries to be camera shy, Garrett is always right behind him. Almost like they were fated to be together! Other than that, the camera work was pretty nifty; the way it angles upwards as they ascend the bleachers, as well as its rotation during the "play ball" bit where Garrett is advancing while Sinatra retreats. V
  11. 1. I'm going to go out on a limb and say that most people were introduced to Judy Garland through Wizard of Oz. I happen to be one such folk. Nowadays, seeing her belt "Somewhere Over the Rainbow" fills me with unbridled joy and consistently amazes me that one person could contain so much talent. Back when I first watched it, though, at the ripe age of 3, my thoughts went something like, "Wow she sings pretty. Where's the color?" 2. Well, considering I've seen both of these films before, my opinions on Judy Garland haven't changed one bit. She's still incredible, sweet, funny, all the goo
  12. 1. Well, I suppose if you're trying to instill a sense of American devotion in your viewers, you can't get a more patriotic set piece than the Oval Office. The flags flanking Cohen and the various pictures of American naval vessels hanging on the walls are nice touches, but the part that really said "America" to me was at the very beginning; Cohen and the attendant climbing the stairs, backed by the portraits of previous presidents. It's representative of the American people, ascending the stairway of success, overlooked by the greatest leaders of their day. It's a subtle bit, but effective. A
  13. 1. To this day, I have yet to see a better "battle of the sexes" number than "Anything You Can Do, I Can Do Better" from Annie Get Your Gun. The dance depicted in this clip is almost like a visual representation of that number; the "yes I can" "no you can't" back-and-forth banter being illustrated in the dance steps between Fred and Ginger. 2. The most distinguishing feature that I can glean from this clip is the fact that Fred and Ginger are, indeed, presented as equals. The man is not down on one knee confessing his undying love while the woman faints into his arms. Instead, the two per
  14. 1. From what I can gather, the Lubitsch Touch is mainly about relaying information without any vocal exposition, relying entirely on scenery and body language. Here we see Chevalier's lady friend produce a garter, then quickly pulling up her dress to reveal that she still has both of her garters on (this was definitely a pre-Code film). We didn't even need to hear Chevalier's sly fourth wall-breaking line to know that "she's terribly jealous;" that few seconds of garter gazing told the audience all they needed to know. The Lubitsch Touch goes even further to show just what kind of character Ch
  15. 1. There's clearly a mutual affection blossoming between the two of them, much as they're trying to conceal it under a layer of comedy. You can see it best in Jeannette MacDonald's performance during Nelson Eddy's song in the first clip; the way her facial expressions constantly shift between "Mm. Not bad." and "Uh-oh... I think I'm falling for this guy!" It's a sign of a good actor when they can convey emotions without having to utter a single word, and MacDonald really nailed it. Eddy was no slouch, either; his encouraging smile towards MacDonald when she's about to leave in the second clip
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