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About ghostiegirlc

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  1. Streisand’s performance of this song is perfect for this situation. The situation in which the song is presented along with the lyrics call for a subtle approach. If it was belted, the volume would distract from the message. & 3. These two characters are clearly attracted to each other but are playing the long game. As He moves closer to her, she moves away. Eventually she has the high ground and finishes her thought. This says to me that she is in control of the situation while he is going with the flow.
  2. In comparison to films of the 30s, George Cukor takes a more naturalistic approach to filming scenes. I noticed that in the 30s, emotion was framed by almost extreme closeups of the actors’ faces, while here, Cukor uses wider shots and trusts the actors to project emotion at a more natural angle. & 3. When Eliza is beside herself with anger and sadness, Cukor gives her the screen time to connect the audience to these emotions. Higgins is unbothered by the fact that Eliza is upset and looks at things rationally, in which case he is shot with Eliza in frame so that his lack of emotion plays off of Eliza. In this way, the audience is able to mark where Eliza attempts to quell her emotions only to start them back up when Higgins does not appear to care about her predicament.
  3. Men no longer rely on alpha male masculinity to play a male role. There is more of a variety of roles available. Men are now able to play second fiddle to a woman, portray members of the LGBTQ+ community, and a plethora of other roles that represent the reality of the world. His inclusion of other actors and his focus on storytelling make him an effective storyteller. He appears to have the story as a whole in mind as opposed to himself or individual scenes. He is also relaxed while still being intentional with his movements. I have not seen any other Robert Preston films, but am determined to become familiar with his work.
  4. This scene is about auditioning for a vaudeville show. Many of the musicals at the beginning included the same sort of scene. The audition is abruptly interrupted by Mama Rose who is a brash, assertive, and overly confident. Female roles up to this point portrayed more demure women, even if they were independent. Mama Rose is the exact opposite. The first thing you notice about Russell is her voice. She clearly knows how to project and command attention. She is also demonstrative and always keeps her body open to the camera. All this creates space for her to share but also take up. In this way, Mama Rose establishes herself as an alpha female. The lyrics are commanding and coming from a child’s mouth, become strangely suggestive. The song could easily be translated into a burlesque number. The choreography is cute and hokey, which serves as a contrast to the words being sung.
  5. In order for the ballet at the end to make more of an impact on the audience, it makes sense that it is more stylised than the rest of the film. It adds depth to the piece. Kelly’s endless charisma certainly helps keep his character likeable. His dislike of the student is also justified. She is being critical of his work in a pseudo-intellectual manner that many students adopt while they are studying in school. This lack of real world knowledge and experience makes for an irritating experience. Jerry Mulligan’s jaded nature has been set up in the opening scenes, so the audience is already aware of his temperment, thus making his actions and words less surprising and off-putting.
  6. Before the number even begins, Kelly and O’Connor set the tempo with their repetition of the tongue twister. Right before they go into the dance, they rhythmically pat the table as a precursor to tapping their feet. All of this lead up sets the high energy tone of the dance. Playing the straight man serves to amplify comedic moments. The only person not participating in the joke sets up an extra obsticle to overcome in the comedic moment. The straight man can also serve as an example of the way a person would react to being in the situation of it happened in real life. Acting as the foil of the comedian, the straight man gives the other performers a chance to play off of the seriousness of this person. Gene Kelly plays the slightly more uptight man’s man, Donald O’Connor plays the funny guy who likely has many friends and is secure with the Alpha male’s position of power, Bobby Watson plays the role of the over-educated straight man who is unnecessarily self-serious. All three of these roles work to round out the scene so that each man has a specific purpose for their presence.
  7. Calamity Jane is fiercely independent. She would likely fall under the category of a tomboy, but she evolves into a softer, more feminine person. Though she is still rough and tumble, she confirms ever so slightly to the idea that women should be more domestic. I believe that in the beginning of her career, she was likely doing parts that would get her in the business. As time went on, she had the ability to choose which roles she wanted. Calamity Jane is the sort of role that falls outside the norm of female performances. After this experience, she seemed to go for the more clear romantic lead. If anything, Doris Day’s personality draws more people to like the rough exterior of Calamity Jane. If the casting director had chosen a less charismatic actor, Jane would come off as brash and unlikable. A character actor, for example, would bring wit and humour to the role, but charisma is important for the layers of the character to work.
  8. Earlier musicals seemed to be focused on a couple of people at a time, but this number includes four people. Each dance move incorporates everyone and they all support one another in song and dance. Earlier musicals seemed to have at least one standout performer while the others in the scene would play a secondary role. The color palette for this scene is grey and blue. Grey seems to be a derivative of blue, so the color choices are even more interlinked. While they aren’t in the exact same outfit, the color scheme works together in a sort of uniformality. Setting the performers apart by way of costuming would only serve to separate the cohesion between characters. For the most part, the choreography has the group in a single line executing the dance. Even in comedic bits that occur, the characters perform as one in a straight line. What I found interesting is that the female lead in this scenario is staged as equal to her male counterparts.
  9. Petunia is clearly devoted to Joe. Earlier in the film, it is recounted that Joe had been involved in an affair but Petunia never waivered and stayed with him. Her being at his bedside after his fall back into gambling and subsequently being shot, shows that she will never really leave him. While she launders his clothes, Joe sits near by and listens to her singing. Though he can get around alright, Petunia is still intent on serving his needs without a thought to her own. The best line in the song to articulate her love and devotion is as follows: Devotion to children is a much more pure thing. Children are completely capable of letting their parents down, but married couple choose each other- one does not normally choose their children. There is not as much of a risk in living children as there is with loving an adult. Society tends to present love of a child as natural, while also suggesting that love for other adults is often impermenant. What I found most interesting about this film is that nobody seemed to be impoverished while also not being affluent. This was likely helpful in helping those marginalized communities feel a sense of comfort and hope at a time when representation was not common.
  10. The wide shots show more of the traditions between the closer shots. These wide shots also serve to show just how large the set is and how important this chase is to the plot. The closer shots do a wonderful job of highlighting the comedic moments of the scene. For example, the moment when she is pointing between herself and Sinatra, and when she messes up his gat and puts it back on him. When Sinatra is leaving the locker room and Garrett is waiting for him, choreographed movement between the two goes in time with the orchestral arrangement. As they are running out to the bleachers, the only natural transition would be into song.
  11. My first Judy Garland film was Wizard of Oz. The only impression I remember having of her was that I loved her shoes and her hair. My grandmother went out and bought me my own ruby slippers and I would wear them to special occasions as well as click them three times just like Judy. As I’ve gotten older, I’ve come to idolise her. She’s a huge part of my life. Through the material in this section, I was able to pay more attention to her maturation. There are many levels to her performances, and she is completely versatile- she can go from comedic lead to the romantic lead and make the transition look flawless. A Star is Born is an intense experience. The audience experiences hope, love, comedy, jealousy, loss, and acceptance all in the span of one film and all mostly through Judy Garland. This rollercoaster of emotions is difficult to achieve and I have only experienced all those things in a handful of performances. You feel everything she says and she feels like someone you know intimately.
  12. The obvious answer lies in the fact that the opening scene is set at the White House with FDR. The very next scene, we see the flags flown in every frame of the parade. The images surrounding these scenes promote the idea that happiness can be found in patriotism. “That’s what I like about you Irish Americans, you carry your love for your country around with you like a flag.” This simple sentence promotes inclusiveness among immigrants in the United States who can be made to feel “other.” Cohen also describes his father’s involvement in the Civil War saying, “he ran away to the Civil War at the age of thirteen. There wasn’t a prouder boy in Massachusetts.” This suggests pride in serving the US in war time. Given the opportunity to open the movie in the WHite House helps focus the audience on the result of a lifetime of patriotism. If the film began at the parade, the plot would be slightly changed fusing at first, as the focus would be on Cohen’s father instead of Cohen himself. The movie would then have to switch gears at some point to portray events from Cohen’s point of view, while having to explain this significance. It is much simpler to give context for the plot at the beginning when possible so that the audience can focus on the story as a whole without being distracted by the worry of its outcome.
  13. 1. In this clip, Rogers’ character is reluctant to play the game Astaire’s character is playing. When the dancing starts, she immediately starts to mimic Astaire’s mannerisms in a mocking way. As the dance progresses, the mocking turns to a partnership where she shakes his hand at the end. 2/3. This film portrays the female lead as someone who can hold her own with or without a partner. The other films discussed thus far contained female characters who would do better with a romantic partner. This suggested dependence on men was the norm, but definitely not the reality for some. In the Depression, it is likely that both men and women needed to work in order to survive. This necessity probably made women feel some of the independence and freedom they felt during the free-wheeling 20s. Rogers’ strong female character is an example of this freedom.
  14. 1. Alfred is suave and sophisticated as shown by his ability to woo a woman of obviously great financial and social status. His possession of the garter and his ease with the gun suggest that he has been in this spot before- especially based on the fact that there is a drawer full of guns in the apartment. From his ease with Paulette to his ability to help her husband with the gun, the audience can tell he's a smooth operator. Even the man charged with kicking him out of the country is calm with him. When Alfred is alone onscreen, the audience is made to feel for him. When he is staged with other people, the people in his proximity are drawn toward him. 2. Specifically, the foreign language used for the majority of the first scene establishes the fact that Alfred is an international playboy. It is reminiscent of Catherine's scenes with the Nurse in Henry V: the fact that you can still be entertained by and understand the scene despite the fact that it is in another language is a testament to the direction and writing of this film. 3. The themes of humor in danger/darkness are essential to escaping harsh reality. Being shot by a gun (loaded or otherwise) is terrifying, as is wondering how you and your family will survive. Humor can get the average person through just about anything. The extravagance of the costumes and the elevated tone of the opening scene would also help serve as an escape for Depression-era film-goers.
  15. 1. The characters have innocent interactions. Though there are romantic undertones, nothing is overtly sexual. Each scene contains comedic moments to undercut the potentially sad situations of each character. 2. I haven’t seen another movie with either of these two actors, so I can’t speak to the second question. 3. Male/female relationships are the only ones that are acceptable, and the man is more welcome to be romantically adventurous with the opposite sex than their female counterparts. Women who wear more revealing clothing are loose, as eluded to by the female singer who outshines Marie in the second scene. Sergeant Bruce comes into that scene cuddled up to two women, and for some reason that feels okay. Obviously the norms in this time would be heterosexual relationships are the only acceptable relationships, sex is a no-go for the screen, and women should remain pure and innocent, and if they aren’t, a man can come and fix that. Also, men are not expected to maintain their sexual or romantic innocence.
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