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Rose1957

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  1. Eliza is a complicated, nuanced character. She was born into poverty and has spent her life as a common flower girl with little if any education, as her idiolect and mannerisms attest to. The beginning of the movie establishes she's clever, self reliant, self deprecating, and often naive. Like many people in her class, she's wary of authority and often combative when she feels someone is trying to hold her down. We also learn she has a code of conduct that she won't ignore, even for a chance to become "a lady in a flower shop." She's also ambitious and isn't afraid to seize the opportunit
  2. What other specific qualities do you notice about Robert Preston in either or both of these clips? Both characters know how to read a crowd and give them exactly what they want/think they need. He's part con man and part circus barker in THE MUSIC MAN. In VICTOR/VICTORIA, his wit cuts like a knife. He takes no prisoners as he's interacting with the recently seated party. They encroach on his territory and try their best to insult him, but he gives better than he gets. And he can hold his own in a fight! Have you seen any Robert Preston films that are not musicals? If so, wha
  3. Suzanne Cupito now goes by the name Morgan Brittany. Yes, THAT Morgan Brittany!
  4. The original movie ran 3 hours, which meant it cost theaters at least one showing a day. They didn't want to lose the revenue and complained to the studio, which is why the movie was chopped by nearly 30 minutes. The original run time was 182 minutes and was hailed by critics; the re-edit ran 154 minutes and was panned. The re-edit cost Garland her Oscar.
  5. If you want some wonderful background on this film, head over to youtube and search for Diane Sawyer's interview with Stanley Donen and the various clips of Patricia Ward Kelly (Gene Kelly's official biographer and his widow). For one, they both debunk the old story about how the crew put milk in the rainwater in the "Singin' in the Rain" dance so it would show up better on camera. For another, PWK confirms that Gene almost always did his own Foley work.
  6. I love those three movies, along with THAT'S DANCING and INVITATION TO DANCE. TD is a compilation of clips like the THAT'S ENTERTAINMENT series, with Kelly and a host of other dancers narrating. Naturally, it looks at MGM films, but it also looks at RKO and Warner Brothers performances. ITD was Kelly's dream project, two hours of dancing to tell the story--no dialogue.
  7. Another fun fact: Stanley Donen was the physical model for the dancing that Jerry the Mouse does, the same way Marge Champion was the physical model for Snow White's movements.
  8. *I agree with other posters that Peter Lorre was a delight in SILK STOCKINGS. Who knew he could sing and dance! *Janice Page is a hoot in this movie, especially when she tries to shake the water out of her ears. Her character is obviously a parody of Esther Williams. *"Stereophonic Sound" is probably my favorite number, followed very closely by "The Red Blues." Cyd Charisse--nothing more needs to be said. *While I like the dancing that goes along with "All of You," I can't get past the cringe-worthy lyric of "I'd love to gain complete control of you/And handle even the hear
  9. I like the musical numbers in HIGH SOCIETY, but that's about it. I especially like "That's Jazz" and the meta-filled "Well Did You Evah". I love THE PHILADELPHIA STORY and watch it virtually every time TCM airs it. The entire cast is sublime--not a false acting note anywhere. Hepburn and Grant are perfectly matched and much easier to root for than Kelly and the too-old-for-her Crosby. We fully believe Hepburn's Tracy as she transforms from brittle, angry, and judgmental to warm and loving when she's finally willing to admit nobody's perfect. She's haughty, defensive, and angry at Dex
  10. 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? Absolutely not. It's like the contrast between Kansas and Oz in THE WIZARD OF OZ. The often dull realistic settings are for the real world. The stylized setting is for the fantasy, where anything's possible. What keeps Jerry Mulligan from being completely unlikeable in a scene in which he acts pretty darn unlikeable? For one, when we first see Jerry, he's walking from his rented flat to his regular spot on Montmartre
  11. "Does Betty Hutton in this movie remind you of Debbie Reynolds in The Unsinkable Molly Brown?" To an extent she does, especially in the beginning of the movie. Indeed, Reynolds goes full out for 90% of the movie, but the big differences between the two performances: Reynolds was much more graceful (and therefore more natural), and she did a better job at showing genuine character development.
  12. I've seen the clips of Judy's songs featured in THAT'S ENTERTAINMENT III. She does a good job and seems to have fun with the role, but she seems so fragile, both physically and emotionally; I think her take on the role would have been very different from Betty Hutton's. For one, while Hutton was a successful recording star, Garland was a far superior singer. Oh, Judy could belt out a song, but she also could successfully dial back the delivery and show true emotion. She would have been magnificent in the two slow ballads. Garland also was a fairly good physical match for the real Anni
  13. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? In the pre-dance set up, Donald is the cooperative, yet dubious student, while Cosmo is the class clown. Once the professor catches Cosmo in the act of mocking him, the two friends revert to their childhood: two naughty little boys who like to create mayhem. They dance with the same exuberance as they always have, full of athleticism and precision, and end the dance by delightfully trashing the joint. The dance is one of my favorites. I'm a Kelly fan and usually have eyes for him only i
  14. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? She's a nice balance between Betty Garrett's aggressive man eater in ON THE TOWN and TAKE ME OUT TO THE BALL GAME and the traditional female role we see in so many other musicals. Women in WWII had to do men's jobs to support the war effort and keep the country running, and they did so willingly and admirably. Yet, once the war was over, men expected women to return to their traditional roles as housewives and mothers. Jane is a comic figure for half of the film be
  15. What do you notice about the staging and interplay between the characters that helps define the relationships between the characters in the song? The staging reflects Tony's insecurities. He's a has-been according to Hollywood, and he hasn't performed live/on stage in years. He feels out of his element, thanks to the prospect of working with the hot shot Jeffrey Cordova. Tony has a pretty close relationship with Lester and Lily, but he can't connect even with them because he's feeling a bit sorry for himself. Lester and Lily have sung Jeffrey's praises since the moment Tony arr
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