LaRhonda

1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? The battle of the sexes isn't only represented in the dancing. But in the way Rogers' is dressed. The most obvious is the pant suit. But she's also wearing a hat and carrying a cane or umbrella (I couldn't tell which). But either one is a prop that's usually held by a man. 2. How does this film distinguish itself from other Depression era musicals we have watched or discussed this week? I didn't get the overwhelming depiction of luxury or abundance in this clip. I haven't seen the movie yet, so at this point I can't say if that carries through the rest of the film. The other films that have been mentioned went out of their way to provide an escape from the challenges and poverties of the time. 3. What possible reasons might there be for the changes in roles between men and women depicted in these screwball comedy musicals that distinguish themselves from earlier musicals in the 1930s? If memory serves correctly this film was shortly after the Hollywood Code so...that's a huge component right there. So instead of seeing Rogers on a skimpy but beautiful down even while sheltered in a downpour...she's in a full on man's suit with hat and umbrella.

1. 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)? Forgive me but I needed to Google the term to get a better understanding of this Lubitsch Touch technique. I found a great one on YT featuring the great director, Billy Wilder. I'll post a link at the bottom of this response. As for what I noticed...the props, dialogue and staging were used to illustrate an idea or impeding action. For example the extra garter suggest he might be cheating on his lover...with another lover. The extra guns in the drawer suggest he's been in this situation or similar situations before....that this lover may not be the first or even the fifth...given the number of guns in the drawer. Serious concepts addressed in a humorous manor. The suggest the Chevalier character might be a lothario with little to no concern for the consequences of his actions because SOMEHOW things always manage to work out. 2. 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. Interestingly...it's the absence of sound that makes the dramatic moments. When the camera hangs on the garter or the the wife opening the purse to retrieve her gun...there is no music. It's not until the husband picks up the gun and begins to instantaneously consider what he will do that we get provocative or leading notes that inform the audience that something sinister is about to happen. The sound vanishes again when the husband and lover are trying to figure out why the 2nd gun shot had no affect. Once again that absence of sound indicates something shocking is about to happened and the camera cuts away to the wife who we see is alive and well. 3. What themes or approaches might you anticipate from this clip in other Depression-era musicals? I can't say what I expect but I think it's simultaneously hilarious and a little unexpected (not to mention disturbing) at the way the film treats the topic of adultery. All is literally forgotten the second the husband thinks the cheating wife is dead. And when he realizes she's really alive...all is literally forgiven. And to top it off...she encourages him to zip up her the dress she just put on after what was clearly a rendezvous with her lover. And what's more she gets frustrated at him not being able to complete such a simple task. I guess this was another attempt at movies taking the audience out of they challenges and drudgeries of Depression-Era life with a little 'lite' comedy. The link for the Billy Wilder comment on the Lubitsch Touch is here...(hope that works)

1. What do you notice about the interaction between the characters in these two scenes? Please give specific examples. The thing that jumped out for me is the typical depiction of the woman as having so much better things on her mind than to pay attention to the latest man's feeble attempts to woe or impress her. She humors him and seemingly entertains herself with his attempts...perhaps in a show of her own focus, strength or self-reliance. But later the tides are turned and the man catches the woman in a moment of embarrassment, weakness or vulnerability. Sides the woman would rather not admit exist much less showcase...at least not until SHE'S ready. 2. If you have seen either or both of these actors in other films or television shows, please share your perceptions about them. Unfortunately, I don't think I've seen either of these performers in other films or shows. Not that I can recall at this time. 3. 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? The dance movements of the other singer who comes up to assist Rose Marie are tame by today's comparison...especially for my Gen-X eyes. But I was actually a little shocked to see the camera capture them. Her pelvis and hips jutting forward in what's clearly a sexually suggestive move. And the dress she wore...made of what looks like a satin material was glued to body and not in a figure-flattering way...but in a way meant to highlight parts of her body. The dress...the tossing of money as she 'performs'....even the way she rushes up the help Rose Marie and not lose the audience, at the suggestion of the male character (perhaps owner of the establishment)...all perpetuate the treatment of women as objects of desire or cattle to be prodded around until they've lost their value. Side note: This has further inspired me to read up on the Hollywood Film Code and its impact on the way movies were made.

Apologies for the late reply... 1.Do you agree that the clip exhibits a brighter perspective of life than might be realistic? Why or why not? I agree...this clip does depict a brighter perspective of life at this time. From Ziegfeld leaving the attendant a more generous tip to the flowers awaiting Held in her dressing room. No one had extra money to waste on tips or flowers during that era. And the audience at her performance was packed...standing room only and ALL the attendants were dressed in their Sunday best. Even folks who were more well off than the average person were feeling the pinch and I don't believe they would have spared a penny to go see a show. 2. What themes or approaches might you anticipate from this clip in other Depression era musicals? In other musicals....for example ones where there's a mob aspect....there would have been a detectable sinister angle to Ziegfeld trying to get information about his competitor. Instead of offering a tip, he would have threatened physical harm in order to get the information he wanted. And there would have been no smiles during the exchange. 3.Since this is a musical that was made after the motion picture code was enforced, how might you imagine it might have been filmed or scripted differently if it had been pre-code? Give specific examples. Hmm...I imagine we would have seen Held changing from her "costume" to whatever personal/civilian clothing she would have worn to meet the man who sent the flowers. Instead of walking from spot to spot seemingly not accomplishing anything important, we would have seen her take off her dress and walk over to wherever she would hang it...in her undergarments. Then we would have seen her take a bench...perhaps switch hoisiery or jewelry...and put on a new outfit to meet her admirer. Side note....Louise Rainer puts me in the mind of Marion Cotillard.