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miss shari

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  1. As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? By the time was get to the 60's, we have seen a huge shift in the roles of men and women. Many of the past male leads were two dimensional, they sang love songs or rallying songs, but often there was a disconnected feeling of who the man was and what he was singing.What other specific qualities do you notice about Robert Preston in either or both of these clips? What other specific qualities do you notice about Rob
  2. 1. How might Streisand’s performance of the song “People” have felt different in the film, had she been more theatrical and expressive, perhaps even belting her song more? It could feel real and exciting if the song was sung more theatrically, it could be a fabulous crowd scene, but I am glad it is not. Fanny is in love, yes it could be shouted to the moon, but if I put myself in the shoes of a woman who has never been in love (the way the movie portray her), whose life was about her work, and had a low self image of her appeal to men, through the intimacy of her song we see her for the
  3. 1. Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) Ok, big leap...In both of the mentioned films, we find a younger, more than a little naive woman who chooses to be dominated, by an older, more worldly man. In Gaslight, our leading man has nefarious reasons to manipulate his wife and is playing the long game to get her aunt's jewels. He has her nearly co
  4. As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? By the time was get to the 60's, we have seen a huge shift in the roles of men and women. Many of the past male leads were two dimensional, they sang love songs or rallying songs, but often there was a disconnected feeling of who the man was and what he was singing.What other specific qualities do you notice about Robert Preston in either or both of these clips? What other specific qualities do you notic
  5. 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 musical opens to an audition, which immediately harkens us back to the old time musical openings in the early back stage musicals. Another way this opening number is a nod to the old musicals, is this is a family of vaudevillian troupers (sorta). I think the chaos of the opening, with the children all on stage at once foretells that changes are coming. All the children had a different act, there was no cohesion. 2.
  6. 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? The film is a love story. Like most love stories, it is often a fantasy. The film is a love story about people, music and Paris and an ode to ballet. Minelli offers a lush post war look at life moving forward. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? Well, hell's bell's it's Gene Kelly! He isn't unlikeable to the other artis
  7. The first time I saw Singing in the Rain was on February 14, 1973. I was thirteen. It was in a downstairs studio for ACT at 450 Geary Street, in San Francisco - and it was a Steve Silver production (of Beach Blanket Babylon fame). It was an amazing party, with two actresses (I remember one was Deborah May, and think Marsha Mason the other) from the company singing and dancing (I think on skates) to Sweetheart, dressed as gigantic frosted cupcakes. He staged many sketches and had hotdogs, soda and popcorn. After the skits and sketches were done, Steve Silver showed the movie! Such a young
  8. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Of the major musicals of the 1950"s, Day gives a performance that is not glorifying femininity. Even so, Day can't hide how lovely she is, the pretty blonde with beautiful blue eyed. Day doesn't usually play a rough and ready characters. She and Anybodies in Westside Story, are the most masculine ingenue I can think of from the fifties. (Majorie Main, just couldn't help it!) How do you think Doris Day grows as an actress in her various roles in the 1950s, befo
  9. 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? There is a generosity between performers in this scene. Each is equally showcased individually, but it is far better when they work together. Levant is a bit of the odd man out, as he does not dance, but all is redeemed with the ladder bit. They use some of the old time slapstick, but it feels fresh. There is no lead, this is an ensemble piece, sans chorus. What
  10. 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? As the scene opens we hear music as Petunia rushes to Little Joe's side, and gives praise to the lord, asking Lily to tell the Reverend and all the folks that Little Joe is alright. As she begins her song, the lights shine on her smiling face, while she caresses LJ's hand. She sings the song with a playfulness, even she is singing about the hard times. The camera jumps to th
  11. Thinking like a director and editor, describe how each shot spotlights key actions. What I saw was the manner in which the shots were framed. How the camera would go to close ups to promote a feeling of intimacy and wide shot to create distance. It moved along like a river or a dance number having the camera being the lead. Garrett is given a fabulous set to work her prowl on Sinatra. She, like the ballpark bleachers area is cornering Sinatra, a ploy which she will be revisited in their next film together, On the Town. It’s interesting to examine how musicals segue into musical n
  12. 1.What was the first Judy Garland film you recall watching? What was your impression of her? The first Garland film I recall was one of the backyard musicals. Wizard of Oz was on TV once a year in the early '60's, and we had a black and white TV. For me, I saw Judy and it was love at first sight. I wanted to grow up and be just like her. She is was born on June tenth, and I was born, well 59 years ago today.  2.How do you view her differently after viewing these clips than you might have viewed her previously? Not a bit of change in viewing the clips, she is and will remain
  13. TCM just showed the We're a Couple of Swells /A Walk up Fifth Avenue, that is my favorite number in the movie. Yeah MGM!!!
  14. Although the clip has a sort of "stagy" feel, for instance, the melodramatic element, breaking the fourth wall, the jump cut to the crowd on the street, it is pretty difficult to go wrong when you have Chevalier. He is a fine tuned comedic, song and dance man. Plus his accent, OOH LA LA, he personifies the American idea of the elegant European, scoundrel. The set is beautifully detailed. I love the paintings of semi-nude women. The crystal wall sconces, the airiness of the room and the window dressings all contribute to the delicious polish of the scene.
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