Jump to content
 
Search In
  • More options...
Find results that contain...
Find results in...

Joyce Carlson

Members
  • Content Count

    18
  • Joined

  • Last visited

About Joyce Carlson

  • Rank
    Member
  1. The song was very intimate, she was singing her thoughts, but also singing those thoughts to Nicky. If she had belted it out, and a more robust delivery might be necessary in a theater vs a sound stage, the song would lost some of that intimacy. As the scene begins, their share a common thought about how they interact with other people and their is a moment, when Fanny awkwardly and self depreciatingly notes their differences in that commonality, and moves into a soft beginning of the song. You have to strain to hear her, almost as if she is singing to herself, having a private though
  2. One of the themes that struck me as I re-watched this scene is shadowy luxury of Hepburn’s surrounding and her rich clothing of lace, velvet and diamonds contrast with her realization that she has no where to go, no hope of a future. She is a person without a place in the middle of very richly feathered nest. Hepburns character realizes that she has collaborated with Higgins and the Colonel in cutting herself off her own sense of belonging. The full measure of that hits home. Harrison’s Higgins is still blissfully unaware that the basis of their relationship has changed irrevocably. A
  3. in terms of changes in male representation in musicals, the movies started basing characters in more relatable life to the viewer. As for their acting, dancing, singing, the male characters seemed to become more rugged in their physical movement and appeal, rather than smooth and elegant. As I think of the upcoming movies, many of which I have seen previously, it seems that films are moving their male characters (and especially the leads) into anti-heroes, rather than hero roles. Robert Preston plays that in both of these clips. In Music Man, he reaches out to the townspeople in th
  4. The clip encompasses a look back by capturing the rush of children to the stage and screen in the 30's to becomethe next Shirley Temple, complete with a stage mother, and the innocent belief that talent could take you anywhere. It looked forward by popping that balloon - literally, in the case the young girl performing in a ballon costume, a shadow of what Louise would become and where her lack of musical talent would take her: to burlesque and the strip shows, but eventually, to the stages her mother sought for Louise's sister June. When Mama entered, all eyes went to Mama, and the
  5. In response to the first question, I think the answer that a movie needs to have one particular style or approach consistent through out the film, would be no. It may be that a cohesive style is useful to deliver the intent of the filmmaker or it may be that it cannot. In An American in Paris, the ballet sequence represents Jerry's own despair of losing Lise, and showing it a more stylized approach reflected in his drawing (also something deeply personal and intently felt by his character) makes the contrast that much more marked. Jerry is likely in this clip because he was so hones
  6. The pre dance movements by Gene and Donald are musical pantomime. Donald mocks the Speech Coach with his facial expressions, while Gene over-enunciates each word, rolling his r's, and letting his voice tones move up and down the scale. They mock him, tease him, and are mildly disrespectful. However, as the scene goes on, it would be hard not to dance with Gene and Donald as they danced around the professor in his straight man role. When Gene moves him from the desk to the chair as Donald dances, you see the professor's walk/shuffle almost starts to follow the beat, but then he is th
  7. In terms of how this character fits into female representation in 1950s films, and specifically this character, even while Calamity is independent early in the film, she desperately wants to fit in to her society, and in the end, falling in love with Wild Bill, helps her find her true happiness. I don't know if it is purposeful, but the independence of women in the 40's, as they joined the paid workforce (because women have always worked), is being turned into a more of a reflection of the man they are attached to, rather than a person in themselves. That is what seems to happen to Calamity
  8. I noticed that in this scene, the characters are interacting with each other, and the camera is a witness to that intersection, rather than in some of the previous movies when the characters interacted with each other through the camera. No one was the central character, they all interacted. Their clothing as neutral, blacks, greys, whites, so they blended as they moved around each other in the musical sketch. They all moved stage material to support what each charter did next. Their steps mirrored each other, and were in sync. They moved like the supporting cast might behind the main
  9. In the beginning of the song, as she kneels by Joe's bedside, her hands are clasped as if in prayer, and she appears to be singing her gratitude to her prayers being answered, and her husband's return to her, after thinking him dead. When the scene cuts to the laundry line, she is singing more of the delight in her love for Joe, and her tenderness towards him (as she moves him into the shade of the porch), and uses the shirt to simulate an embrace of her husband. I suppose the song could be sung about a child, but I don't think that was the intent to the composer and the lyricist.
  10. The characters start this sequence almost dancing. Betty steps forward, Frank steps backward. Frank steps to the side, Betty mirrors that movement, stalking him, corralling him in time to the music. As the dancing becomes chasing, the worlds become full out singing. All the time she chases him, she is telling him thru song that the end is inevitable as it is fated. She is sort of playing with him like a cat and mouse. Sometimes the mouse momentarily escapes, but the cat is always quicker and catches him again. As the music crescendos, she is chasing him across and up the bleachers,
  11. The first movie I remember seeing Judy Garland in is Wizard of Oz. It was on during the Holidays, I recall often on Thanksgiving weekend. I remember watching with my whole family sitting around the television set. My Dad would make popcorn or fudge as a treat. When she sang Over the Rainbow, it was like she was singing the questions, I (and probably everyone else) had asked themselves in the privacy of their own thoughts and dreams. I have seen For Me and My Gal, and Easter Parade many times. My opinion of Judy Garland as a performer each time I see these or other movies or show
  12. I think the opening with FDR was effective. The parade scene would not have been seen in the same context without the conversation between the FDR character and Cagney's GMC. Patriotism and love of country spanning generations of Americans. Cagney's character said, he learned it [patriotism] from his father, who enlisted for the Union in the Civil War, and the President talked about how Irish Americans wore their patriotism and love of country openly. One member of this class mentioned the scene where Cagney's character was seated off center and a chair in the background with the desk c
  13. I like the back and forth in the choreography. Each one advances and retreats on the other. I think both dancers being in pants and low heeled shoes rather than Ginger being in a dress & high heels makes for a more equal partnership in the dance. In the spins they each appear to take turns being the anchor during the spin. And I like the ending: a handshake, rather than a kiss. It seems to foster the partnership in dance rather than seduction and capitulation.
  14. One of the sounds I thought was most interesting was the crowd sound we heard when the woman and husband in the clip left the apt. M.C. opened the door to the balcony. We could hear the crowd sound as he did. He seemed weary of the noise and the audience. He closed the door immediately and shutting out the sound. And was momentarily unburdened.
  15. The character played by M.C. reminds me of Hugh Hefner as a character. He has an apt where women surround him. He is playful and unapologetic with the female character in the clip. Given the souvenirs in the desk drawer, it seems to be a routine. At the same time, he seems able to walk away frim the relationship in the clip and the woman does not appear angry or hurt, but pragmatic, right dowin to deciding to have him zip her dress in order to facilitate leaving the apt with her husband.
© 2020 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
×
×
  • Create New...