AnotherJamesSmith

1. Petunia is elated when Joe is alive; however, the work still needs to be done around the house, and the filming of her going about her business seems like a good way to advance that point and the ongoing plot. The plot can continue now that the main characters are ok, Joe is alive, and Petunia is happy. I think it also shows that she does love her life, her man, her work, and all of these have come together with the news that Joe is ok. 2. The elation would still be there if a child was found to be ok, but it's a different love (but, in this case with Petunia, it would be uncondi

I specifically remember The Wizard of Oz as the first film, but the first film other than that one that made an impression on me was In the Good Old Summertime. It was with this film that I saw the range of talent, the subtle humor expressed, the depth of emotion that could be shown by Judy Garland in even a rather simple role. I have seen all 36 films (several times over) and I will say that my absolute favorite is The Clock, for many reasons as I like Meet Me in St. Louis -- I am drawn from frame one into the film and get lost in the slice of life goings on of a wartime romance and what

1. I think the two scenes exemplify the playful yet sterile "lovemaking" and courtship depicted in historically traditional operetta-- there's a lot of coy batting of eyes, snappy-type dialogue that seems to skirt around the fact that the two are attracted to each other. I think you find it in most movies of this era and beyond to the 40's and 50's and even in the 60's...no one wants to come right out and say, "I'm attracted to you," but rather a verbal circling game is played. The scenes are charming and elicit a smile from any viewer, whether that be just liking the scene or baffled by i

I don't think the softened scenes like this were confined to just the Depression era. Scenes of a similar vein run through most of the musicals of WW II and well into the early 1950's...nothing too heavy, nothing too serious. It has to do with escapism, which isn't a bad thing and carries an unfortunate negative connotation. This scene reminded me (sort of, figuratively) of the Popeye cartoons when Bluto and Popeye fought for Olive Oyl, and her arms stretched from pulled side to pulled side, longer for Popeye and then longer for Bluto, then longer for Popeye again, and longer for Bluto...