Jump to content

 
Search In
  • More options...
Find results that contain...
Find results in...

KayeA

Members
  • Content Count

    30
  • Joined

  • Last visited

Everything posted by KayeA

  1. I’m a Royals fan so I feel your pain. Mostly, I’ve put off watching things on Netflix. Instead of reading my news and political sites with my breakfast, I’ve been doing the course modules; my mental health has probably improved for it.
  2. Yes—one of the reasons I signed up (besides my love of musicals) was to experience the MOOC. I teach online and have enjoyed being on this side of the keyboard. I’d also like to know the numbers.
  3. I'm noticing the sets and costuming more--looking at the entire production as a unified work. Also, I'm thinking more about the sound. I love musicals, so I had watched many of these before, and I was an English major, so I'm trained to look at things like books and movies with a critical, analytical eye. But even with that background, I'm noticing many things I haven't before. With literature, this kind of thing can hurt the experience of reading--It's hard to turn of that analytical approach. (When I want to unwind with a book, I read things like sci-fi and mystery series instead of "serious" fiction. That way I can turn off the critic.) However, I've found that the insights I've gained here have enhanced my experience watching musicals, and I'm sure that will carry over into other genres as well.
  4. I love this musical, and I’m impressed with the way that they brought it to film. Theatrical productions that I’ve seen use a mostly bare stage with costuming similar to what they used in the movie. Some productions use a theatrical trunk that the actors pull clothing from, sort of like kids playing dress up. It reminds me a bit of the production style of The Fantasticks. Given the bare stage origins, I like the way that they transported it to NYC. I recently saw a production of Godspell at our university, and apparently somewhere along the way they changed some of the lyrics and added some material. I suppose that happened in a recent revival. I hated it, as did the others who attended with me who were familiar with the original version. The altered version is darker, sort of angrier. It doesn’t have the joy and optimism of the original. I’m glad we have the movie version to keep that joyous celebration alive.
  5. With today’s focus on the composers, I wish there had been some discussion and clips of biopics of composers. After working my way through the class, and especially after reading and thinking about today’s materials, I think the biopic I’d really like to rewatch is Words and Music, about Lorenz Hart. I’d like to watch for how the movie deals with (hints at or hidesj his sexual orientation, and to watch it through the lens of musicals as disruptive. What composer biopic would you lime to rewatch, or to recommend now that we’re nearing the end of the course?
  6. Here’s a tough one, and maybe a movie that can help us define musicals. Is Oh Brother, Where Art Thou? a musical?
  7. One of my favorite movies is Executive Suite—which has no music.
  8. Is the stage play different than the movie of Pygmalion? I just watched the movie on TCM, and the last scene is exactly the same as in MFL. Eliza comes back to Higgins.
  9. Watching My Fair Lady again, I noticed that after the Ascot debacle when everyone is urging Higgins to stop the experiment, his mother comments something like, “The only reason you would continue this is if you are potty about her.” How did I miss that earlier? Clearly she knows her son. What other foreshadowing/clues about Higgens falling in love did I miss? And on another note, I always wonder what happened to Freddy. I know that when a play is done, it’s done, but I do sort of feel sorry for Freddy. He’s practically made himself sick over Eliza. Let’s face it, he’s basically stalking her. And he just disappears. I hope he married a New York heiress and had a much happier time of it than people in Henry James novels.
  10. I agree. A friend who is also into movies told me that I would love it, but I just didn’t. He said, “If you like Singing in the Rain, you’ll like LaLa Land.” Nope. It might have been better with other actors, who knows? P.S. I really wish that Patrick Swayze had had the chance to make real musicals. Imagine a Gene Kelly biopic starring Swayze.
  11. This class has given me a new appreciation of Jeanette MacDonald/Nelson Eddy, so I guess I have to take them off my “dislike” list. I really tried to watch Good News again for this class, but I still couldn’t get past the first 20 minutes (which is actually longer than I ever made it into the movie before). Just something about Peter Lawford and June Allyson that sets my teeth on edge. I mentioned this to a couple of my movie-loving friends, and they agreed, so at least I know I’m not alone. And I can’t stand Grease, either. The stage version I can deal with, but the movie—nope.
  12. Jack Wild was my only preteen/teen crush. I’m not sure why, but the others never appealed to me. (Well, David Cassidy came close—and he could actually sing.) I remember that I saw Jack Wild in a show at the Muny in St. Louis. (The Muny—Municipal Opera—is an outdoor venue like the Starlight in Kansas City that Dr. Ament mentions. We lived a few hours from KC and my grandparents lived in Illinois about 45 minutes from St Louis, so I saw shows at both venues every summer.) I even got his autograph on my program. The funny thing is, I don’t remember what show he was in. I do remember seeing William Daniels in 1776–so that’s another musical for this week.
  13. A couple of people have mentioned The Last Starfighter, which is interesting to look at in the context of this course—and especially of Music Man. I saw The Last Starfighter in a movie theater when it came out, and the draw for me was Preston. He was marvelous, as usual, and I have always assumed that the role was written for him. I haven’t seen the film again, but I noticed many similarities between Professor Hill and Centauri.
  14. Just finished watching Pal Joey for the first time too. (Thank you dvr.) I’m intrigued that Gene Kelly played the role on the stage. I love Kelly, but I have to say, this role seems like it was written for Sinatra. Rita Hayworth was terrific, and the score terrific. I was struck by how different this was in its look/ feel from the other musicals I’ve watched for the class. I can’t put my finger on it, but maybe slicker? different camera work? With Nelson Riddle doing the arrangements, it certainly sounds different. I’m a regular listener to “The Retro Cocktail Hour” on our NPR station, and the music definitely had the “space age bachelor pad music” vibe. I have the feeling that this has more in common with musicals of the 60s than of the early 50s.
  15. To me there’s no comparison. Philadelphia Story hands down. First of all, it has the Hepburn/Grant magic, with a marvelous supporting cast. For the most part, I find the songs in High Society to be a drag on the action. Philadelphia Story just seems to me to be a faster-paced movie, paced more like a screwball comedy. (If you want to see Hepburn and Grant in a film that really skewers class, wealth, and snobbery, check out Holiday.)
  16. Well, I was interested in the whole blackface issue—the way it is essential to the plot in this movie, but you’re right—and her children are treated even worse. I’ve always cringed at this. And the weird assumption that a black cook in a Connecticut inn would sound like she came from the deep south.
  17. This is a touchy subject, but I want to talk about the blackface scene in Holiday Inn. Today, we know there are all kinds of problems with it, but as the lectures pointed out, we need to remember the historical context. But that's not the point I want to make. If you've ever seen a broadcast of Holiday Inn with that scene cut, you realize that it's essential to the plot. Depending on where they make the cut, and how much they cut, you miss the information that Ted wants Linda for his new partner and Jim wants to keep her hidden. That's a key driver of the plot and tje source of a lot of the humor. Also, even the movie seems aware that performing in blackface is getting awkward by this time. It's a last minute decision by Jim to disguise Linda, and she reacts with shock that seems to go beyond simply being surprised by the suddenness or not being glamorous. Or maybe I'm just imposing my own values on that scene?
  18. This is a good question--and a tough one. I tend to approach movie musicals and stage musicals as entirely different things, but I appreciate it when a movie gives me the opportunity to see a musical that I'm not otherwise able to see. (I got to see the movie Rent long before I got to see the stage version, and I think that movie works well as a movie.) But if I were going to pick a movie musical that I think is better than the stage version, I think I'd pick South Pacific. The location shooting is an improvement over what you usually get on a stage and the cast is wonderful. I don't know the stage version well enough to comment about differences in songs (for which my father will come back and haunt me--he taught a course in American musical theatre), but I don't notice any obvious gaps when I watch the movie.
  19. For some reason, I had never realized until today, when TCM scheduled Take Me Out to the Ballgame and On the Town back to back, that both movies featured the same three actors (and Betty Garrett!). Does anyone know if there is a story behind this, some particular reason for the same casts (like the deal that John Ford struck to be able to make The Quiet Man)? Or was this just serendipity? Watching these together makes me wish that Sinatra, Kelly, and Munshin had done another movie or two together. They make great pals and a wonderful team. (And did you catch Munshin in Easter Parade? The salad bit always cracks me up.)
  20. Here's another early entry for "race films," perhaps even rarer than something like The Silk Bouquet. After many years and much detective work, The Daughter of Dawn, a Native American movie filmed in Oklahoma, has been restored and is available. In fact, you can stream it on Netflix. Here's a story about the film:
  21. What, no votes for the hat rack? (Sorry about the video quality--no good ones on YouTube)
  22. I love this movie, and Cagney’s dancing is certainly a highlight. Joan Blondell is a delight, and this may be my favorite Frank McHugh role. Did they really have these kinds of live performances before movies? If so, I’m sure they weren’t this elaborate.
  23. I was struck by the realism in this movie. In the lectures, we've heard them talk about how many of the musicals tended to mirror the theatrical stage, but this was filmed on location, in a gritty style. My mom watched it with me, and she commented that it looked like the way that directors use hand-held cameras to convey a gritty, realistic feeling. I wonder if one of the things that TCM though might not make it ideal for prime time was the centrality of religion to the story. I can see churches taking groups to see it. I can even see a pastor showing it to a youth group today and asking them to discuss repentance and salvation in the movie. So many talented actors here. It's a shame that they didn't do more movies.
  24. I wouldn't be surprised if it was. The "Broadway Melody" section is a pretty clear reference. I know that many of the technical issues shown in SITR were based on people's experiences and memories of the move to sound.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...