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Carol Kelsall

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About Carol Kelsall

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  1. Thank you Mr. Long for your insight regarding the comparison between "MFL" and Gaslight. The theme of men controlling women for a specific purpose was eyeopening. You say, that both women are "warn down and angry" at the end of the process. Women throughout history have men controlling their lives for a specific purpose. Eliza wants to get out of her former life and look towards a future. I especially liked the part of the clip that suggests that she will do anything for a chocolate. much like a animal will perform for a treat. We also see in this clip that Eliza is like a child. How many times have you seen parents bring their child into a setting to perform for their co-workers, family or friends. That is Miss Doolittle through out her time with the Professor. I want to comment on the idea that Cukor has the reputation of being a women's director. In this film MFL, he know how to show the audience what Eliza feels. First we see her coming back from the ball where she was the prime attraction. At the Ball, Cukor certainly shows the audience she is the "center of attention." In this clip, we first see her fading into the back of a very large, full room of things. We see her as only a thing. Just like a piece of furniture. Cukor only lets the audience see her through the darkness, by having the lights highlight the jewels she is wearing. The scene in which she is crying, she is placed at the footstool "at the feet of her master" just as a pet or child would find themselves. It is only at the time the professor notices her. Earlier in the film the director points out that her job was to 'fetch" the slippers. Just as a personal assistant or "dog." Here Eliza find herself thinking that this is the only thing I am good for, all for a piece of chocolate? Relationships throughout the film starts with that of need: need of help to survive the world outside. Second, the idea of support. I will support you to help you achieve notoriety. Much like a wife supports her husband. Third as a child or a pet. I will perform to please you, provide an opportunity to show me off and finally as all of the above relationships/ roles we all play during our lives. Everyone of us have been children, everyone of us support someone, we all perform as members in a family. We love many different ways during our lives. Our relationships can sometimes show disgust, dislike, resentment and regret. But we always come back, due to love. This film and its relationship all exhibited .
  2. The first thing that comes to mind as I viewed the clip from "Music Man" is that this character is connected to the part he is playing. When you compare this to Fred Astaire or Gene Kelly also masculine, they is often a disconnect to the character especially when dancing. In "Music Man" we are free from the ballet sequences that do not connect to the characters. Preston verbal presentation is also connected to the character. He is in full command of his performance. He is the director, the con man, the leader. This musical has a lot of techniques in group presentations as well as individual performances. I have not seen other movies with Robert Preston. I will have to take some time to seek out some mentioned by my fellow classmates.
  3. I too wanted to see the balloon pop Joyce. But had not thought about it as a look into the future of Gypsy Rose Lee! As far as the Disruptive Era- a disruptive stage mom, running everything. I also thought of vaudeville and looking back to the Broadway stage. Loved the orchestra pit. Nothing like we experience today. We only see this in "High School" or community productions of the Musicals of this era. Students and community members experiencing the early Musicals covered in this course. I know very little about Rosalind Russel the actress. But the part she is playing is disruption to the maximum. I never thought about the idea that the way she is dressed is not what we should be seeing from a "mom" of this time period. Only her child is to be noticed and everyone else is destroyed. Equal to the idea of a Musical of the past is destroyed by the musicals of the 60's and beyond. The staging of the song in the clip encompasses a male figure (the older sister dressed in boys clothes, the dainty little girl (will become a provocative woman, and finally the mother, (one who gave birth to both). One who tries to "sell the talents" of both. As I write this, I am wondering what will happen to other children in the back waiting for an audition. Do we learn as the movie goes on?
  4. I think that Minnelli needs to show a difference between America and Paris his approach of color and the fantasy of Ballet is a necessary evil. Being a child of the 60's and living in the 21st century, I do not think the ballet needs to be less realistic. I wonder what message would be left, if a ballet depicting reality was the road of choice. Regarding Jerry Mulligan as a common guy speaking to a wealthy woman shows, again the differences between the common man during this time period. I again wonder about the intricate thought process Minnelli uses when bringing both cultures together.
  5. I need help here. I am not sure what the reference to the pre-dance movements mean. So I have some difficulty responding to this question. As a pronunciation instructor I loved this clip and had such fun with it. The necessary evil of matching voice and lips together in film during this time period. It amazes me the part of the strait man. During the filming of this clip it must have had many takes and a lot of fun.
  6. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Just watched "Singing in the Rain" last night. The Female representation in this movie was so visible. The blonde haired lead was characterized as less intelligent, not having any "street smart". Then when a glimpse of "street smart" is presented, she is hood winked by men, with the help of the Debbie Reynolds character. Here in 'Calamity Jane" the blonde character Calamity, tries to make a place for herself in the community. She has some of the characteristics of the role women played in the war years. This transition is difficult during the 1950's. As mentioned in the Curator notes:(All pictures of the real Jane show a fairly attractive, if not typically feminine woman.) She is playful, yet wants to be seen as an equal to all men. Later, she is singing in the bar, wanting to be “one of the guys” yet as we watch, we can notice that they do not really take her seriously. Even her best friend, Bill Hickok (Howard Keel), moves her away from the gambling table. When the bar keep announces drinks are on the house, she is pushed to the back, and only when she shoots her gun is she allowed access to the bar. Wanting to be equal with men. Something that is still proving to be difficult now in the 21st Century. How do you think Doris Day grows as an actress in her various roles in the 1950s, before and after this musical? I am a baby boomer and was not born until the mid fifty's. I have very little experience with Doris Day. After this musical I can only assume she was able to prove that she has the ability to span a large gap regarding she vocal and acting abilities. She is not afraid to play with a character to achieve the artistry necessary to portray the role of Calamity Jane and the femininity of a women in love. Does Doris Day’s bright and sunny persona add or detract from the role of Calamity Jane in your opinion? Please defend your answer. The picture depicted is the real Calamity Jane. I had to do this to help me with my answer. After reading a little about her, Doris Day's sunny persona is in contradiction with real person. I believe that the character played by Day does exhibit some of what the real person was like, and helps Doris Day prove her abilities to work in the "Movies." Doris Day and the movie Calamity Jane definitely show a "model of community, cooperative spirit, and optimism.
  7. 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? The curator's note states this clearly--illustrated in this number is four individuals as an ensemble where not one of them is featured in a particular strength, but all are equal and playing together. It is a cooperative effort. That is the spirit of the song, the movie, and the title. Earlier musicals often highlighted a particular vocalist/dancer. We only see Judy Garland interacting acting with co-stars but she is the focal point of the scene. Here no actor/dancer/vocalist plays over the other. What do you notice about the costuming of the characters that indicate cohesiveness of the ensemble, as opposed to setting anyone apart? Be specific As I was watching the clip the first thing I notices was the color palate. Men wearing blue, black, and white. Each character has these same colors, yet depicting different parts of life. A smoking jacket, a pinstripe suit, a gray sport jacket. Female artist- black and white. But contains a red flower. A sign of femininity? A backdrop of red. What does this mean? Any guesses? Equality- "the world is a stage, the stage is the world." The movie goer is entertained with entertainment of equal value. What do you notice about the staging and interplay between the characters that helps define the relationships between the characters in the song? The team proceeds to goof around with set pieces singing about various scenarios that indicate, “the world is a stage, the stage is a world of entertainment.” As a team, they convince each other that with group cooperation, sticking with a common mission, they can accomplish anything.
  8. 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? At first we see Petunia at Joe's bedside. The first thing that caught my eye was that his head was covered and assumed as dead. "Ok, he is alive. My love is alive and I must continue on with life." A great technique to the outside hanging laundry. Notice that "Little Joe" is in a wheel chair watching her. Life must go on. Dedication to the family and life must go on. No matter what Joe has done in the past, my life as his wife, lover, helpmate must go on. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How? My first impression after reviewing the song is yes, the meaning would change if she were singing about a child. Losing a child is something no mother should experience. But losing a spouse is going to happen, it is expected. Cultural meaning would change as well. If a child is lost, that child is not the person expected to carry on in a specific relationship. Children are expected to move on. Parent's are expected to severe ties with children. But marriage is sacred. As was stated previously, "until death do us part." Losing a child is expected in some way. Sadly, if death is the way, this is not something that is expected. What other thoughts do you have about this film, the issues of black Americans during WWII, and this film’s importance in this era? My thoughts about this film and being a child of the early 60's, I could not have imagined that black actors and actresses, would be scene in films in 1943. I have not concept of the time. But I have been reminded that Hollywood and this time period seemed to stem toward diversity and solidarity, not division and things that are still unfair. This film was created during the war years and the use of all races created this sense of solidarity towards a specific cause. To bad that in 2018 we do not have the same ideas.
  9. 1)The first Judy Garland film, like many others, was the "Wizard of Oz." It is hard to say what my first impression was at that time. I was very young and have since read and heard of so much more. I do remember my favorite song from the film. "Somewhere Over the Rainbow." I find myself singing it even now. Today, some years later, I am amazed with the breath of her career. Her ability to interact with adults in a skilled manner, her ability to span a wide range of character interactions. 2)I have very little experience with her later roles other than what has been presented in these clips. Here I see a very talented young woman. Not the little girl, she played in Wizard of Oz. Later I see what looks like an older Judy with Kelly. A person who knows how to act, dance, sing and interact with her fellow artists. I found it interesting that this was Kelly's first film. 3)I have to again say, I did not have the experience of Judy Garland films. As I am writing this, I am trying to figure out why. If I were to guess, it is because I had not been born. After my life began, I did not have the luxury or the experience of watching them at a later date. I am hoping to take some time, during the class to remedy this situation. Music and Musicals have been a part of my life for a long time. But did not consist of Judy Garland. Sounds like I have to take sometime to catch up.
  10. 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)? Lubitsch touch is exhibited through the use of Props in ways the viewer would least expect. The use of the gun by McDonald the first time. Effect sadness, why?, The gun again--OH MY I am not dead! Try again--OH MY I'm not dead. Is she dead? McDonald gets up--the next prop--the zipper. WHAT YOU CAN'T HELP! OK, I WILL GO TO HE MAN i KNOW CAN DO IT. Finally, the gun(s) again-- She has tried it before. Lubitsch helps the audience forget about everything outside the theater and get involved with the episode in front of them. I can only imagine the theater audience laughing as I was. Such a great clip. Based on this scene, what are some of the things you notice about the scene’s use of sound? Describe a specific sound or line of dialogue you hear and what you think it adds to the scene’s effectiveness. Again sound is demonstrated through the use of the gun. The only sound we hear aside from dialogue is the gun. We do not hear the zipper, the drawer opening etc. At least the dialogue and the sound of the gun are the memorable parts of the clip. Without the gun this transition from silent film to sound shows how this new technique was being experimented with. Finally, the dialogue in English helped me understand what was really happening. What themes or approaches might you anticipate from this clip in other Depression-era musicals? I would expect more Sexuality without the actual sex. Suggestive ideas, laughter, and escapism. I anticipate the idea that nothing is sacred and is allowed for the movie audience to now hear as well as view.
  11. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. I noticed in the first scene that even though Rose Marie is committed to someone else, she is interested in her suitor and then realizes that the Canadian Mountie uses this line on all the girls. Adding some humor to the classical music singing. While in the second scene the classical approach does not work at all between the two actors. The music of the time is more appealing. I wonder how this approach appealed to the audience of the time. If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. I am not familiar with either of them. What do these clips tell you about the male/female relationships as they are depicted in the films during this era? What norms might you expect are supported under the Hollywood Film Code? Both characters are depicted as being "prim and proper." While in the second clip, the audience sees that the world around them is not always the same.
  12. "I wish to play with me, to play with me, to play with me all day long." I see this as way to escape what was going on outside the theater. This was a time when "playing around" could be suggested, but not acted upon. I thought these words to be suggestive. I also wondered how the women in the audience thought about her choosing their significant others. Allowed as a suggestion? If the musical was made before "pre-code" era, I would imagine that the clothing would be more suggestive. Just as suggestive as the words. Also curiously, she ends up flirting with " the two directors/" seeking a contract.
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