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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? The way the scene opens is reminiscent of the older musicals with the vaudeville, cute kids performing and putting on an act show. However, as the scene plays the curtain is pulled back and the new disruption comes from the brash, aggressive entrance by Russell (something not many old musicals had). The best example of disruption is the full force of Mama Rose and her stage mother role. 2. This is the introduction o
  2. I believe Jimmy Stewart's character was a baseball player NOT football player. But yes there was a bleachers scene so that is awesome!
  3. Good News: Connie Lane: Gee, I wish someone loved me like you love you! Connie Lane: Why don't you just hit her over the head with a hockey stick? Singin' in the Rain: Don Lockwood: [desperately] Hey, Cos! Do something! Call me a cab! Cosmo Brown: OK, you're a cab. Don Lockwood: [unimpressed] Thanks a lot! Cosmo Brown: Gee, I'm glad you turned up, we've been looking inside every cake in town. The Unsinkable Molly Brown: Molly Brown: It's not the money I love, it's the not having it I hate. Molly Brown: [in France] Here I'm pleasant, at home I'm
  4. 1. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? It's an artsy film. Less realism the better especially in a ballet. Not a favorite of mine. 2. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? He seems very friendly with the locals and has a skip in his step. Clearly he has had art students come around and critique his art acting like the most respected, knowledgeable art critics in the world, so after awhile I'd
  5. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? O'Connor is the fun, jokester character. Rolls his eyes, makes funny faces and is goofing off. Kelly is more composed and masculine in his composure but even he is starting to cave to O'Connor's fun antics. This goes right into their dancing techniques. O'Connor the hoofer, arms flailing around, moving with full abandonment and quite exaggerated. Kelly is more composed, arms go with the choreography and has crisp, controlled and composed movements. 2. Watch the Professor all the way throu
  6. 2. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Strong female role breaking a bit from the stereotypical glamour, sex sells woman look that many musicals were using. Calamity Jane along with Annie Oakley were strong women who didn't mind getting rough and downright dirty. They held their own with the men and this sometimes made them outcasts with men but mainly with other women. They could be feminine on their own terms but they were much more comfortable as tomboys. 2. How do you think Doris Day grows as
  7. 1. As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? It's not a flashy scene. It's very relaxed. They look like they are all having fun and are good friends comfortable with each other. They are mindful of each other so the playful back and forth flows nicely. 2. What do you notice about the costuming of the characters that indicate cohesiveness of the ensemble, as opposed to setting anyone apart? Be specific. The col
  8. 1. What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? Petunia loves her husband and is showing him that his love is all she needs to have a happy life. Doing the household chores and showing that time has elapsed and Joe is healthy enough to come outside shows us that she is happy just being Joe's wife. 2. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? I don't
  9. God bless the DVR! Grant it I own most of these movies (especially the Judy Garland/June Allyson ones), I'm just too lazy to find them and play them on my dvd/bluray player. I'm seeing a trend as in most of the films are MGM. I think I'll try to watch some Doris Day ones as well (she was Warner Bros except for Take Me or Leave Me). The 40s and the 50s musicals are my favorite!
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. It's an act/react game of cat and mouse. For every action a reaction occurs from throwing a ball to the blocking of walkway making the character zig when the woman zags. 2. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? It's a game of cat and mouse. The music sounds after a movement and announces Betty Garrett's character from the beginning. Just by hearing the music and watching the chase begin you know the characters a
  11. 1. What was the first Judy Garland film you recall watching? What was your first impression of her? This is going to sound cliche but of course it was The Wizard of Oz. A must see and share for every child. My mother made sure I got an early start. I wanted to be her and help her as Dorothy. Her innocence when singing Somewhere Over the Rainbow made me believe in the possibilities of a happy, magical place. Later I would go on to watch every one of her movies. 2. How do you view her differently after viewing these clips than you might have viewed her previously? She grew into a
  12. 1. Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. Well it opens in the White House talking to the president so I'd say that's about as patriotic as you can get! With the addition of the pictures of past presidents alining the walls as Cohan goes up the stairs, followed by the dialogue talking about how his father ran out and joined the Civil War without hesitation, you could hear the importance of America to Cohan and his family. Once we see th
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? I didn't really see all that many aspects of the battle of the sexes. I mean Fred did the singing and leading in all aspects. While Ginger did meet him move for move I guess the handshake and the outfit were all that made her stand out as a supposed "equal". It's progress but still the man makes the calls. 2. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week?Ginger Rodgers is shown here as a stronger more independent kind
  14. 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)? Since most of the dialogue is either in French or English with a very thick French accent the props and mannerisms were key to identifying that Alfred is a ladies man. Lover of the finest things in life and I pretty smooth operator. By visually panning through with the camera, were able to see the unclaimed garter, the "gun" drawer and hanging picture showing what kind of bachelor pad this apartment is and just what kind of hobby
  15. 1. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. Per the musical formula of the times, boy meets girl, boy tries to woo girl, girl plays hard to get until proven she is vulnerable and then boy woos again and succeeds. Eddy tries to impress Rose Marie with his singing in order to compete with the guy she is going to meet and ends up with egg on his face when she figures out his flirting routine. However, in the next clip we see MacDonald stepping out of her comfort zone and showing her vulnerability, bowing out to the be
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