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About Cinemaholic247

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  1. Fanny Brice lived an interesting life, from her burlesque days to her turbulence marriage with Nicky. When she was on stage, she'd give her performances with total emotion from comedic routines to her rendition of My Man. She didn't need to put on an act when she performed, she would do it with total heart. While Streisand performed from the script, although she gave her all, she didn't have the emotional drive behind the story, like Brice had. The song is being sung to Nicky about taking a break from their rocky relationship. She does give it her all and it is empowering as well as with the talented Streisand. I don't think she should belt anymore than she had, the scene is powerful the way it is. We first see the two sharing a moment together until Fanny leaves to begin singing her thoughts. The focus is mainly on Fanny as she walks and sings, with Nick's back towards the audience. When they finally catch up to each other, Fanny can't keep eye contact with Nick. Here and there she would look at him for a glance, maybe shed a quick smile, before shying away. You can see she is contemplating their relationship and how she feels for him. During her song, Nick never takes his eyes off Fanny, nor does he interject. You can see he is taken by Brice though all her shyness in the song, he lets her part, rather then try to pull her in. You can kind of see a foreshadow of their relationship in this scene as well. Fanny is making a difficult decision about how she feels about Nick. Though she is apart from him, she still can't turn away from Nick. Occasionally, she would turn and smile at him, but just as well shy away. Though the focus is on Fanny, Nick can still be seen here and there, still included. You can see the back of his head and he is following after her, especially when she turns and physically include him on her thoughts in a line or two and well as a full shot of his, close up and far show of him giving her space and looking on. They both love one another, but unfortunately can't give each other their all to one another. Nick values his space, privacy, and isn't willing to change/or make sacrifices in their relationship, just to keep Fanny by his side. Neither is Fanny willing to give up her career for him, and she made a lot of sacrifices for Nick during their marriage, too many for him to make up for. As they are walking, there are obstacles in their way, like the lamp post and stairs. Instead of following her all the way to the height of the stairs that she was standing on, he stops a building away and keeps his distance. In a way foreshadowing the steps she took to get to Nick, let alone to keep him happy/content. Not only are there long shots and panning of the camera following Fanny movements, there also a few zoom shots of Fanny when she is on the stairs singing out to Nick, as well as a few close up shots of Nick smiling content with her.
  2. In Gaslight, when Bergman finds the truth to Boyar scheme, she begins to trap him and questions him, the way he did to her previously in the film. Keeping her composure throughout the whole conduct til she gets Boyar to confess his con. While in My Fair Lady, when Higgin's bet is won and Eliza must go back to her old ways, Hepburn throws tantrum and cries like a child, which Higgin's calls her out on her behavior, but his quick snap makes him look petty and hurtful, and Eliza is innocent (which in a way yes). Hepburn is fending for herself, while Bergman has a few companions helping her out. Unlike Hepburn, Bergman never looses her cool or let her emotion get the best of her. She keeps her wit in check and goes so far with Boyar investigation and stopping before she goes too far. Hepburn is angered at Higgins who seems to show no interest in Miss Doolittle and looks at her a a game, it isn't til she leaves him that he realize how much he actually loves her. And then he realize he was wrong in his ways, but the way Eliza gets her point across, instead of holding her wit and acting ladylike, she goes back to her old ways and throws a tantrum which is hard to take her serious. Eliza who is struggling with Higgins strict lessons to turn her into a proper lady. She tries her best, but still can't peel away her past as easily as what Higgins hopes for. He treats her at first like a pet, a project before she becomes the model he envisions her to be and finds himself in love and hard to break away from his stubborn character to show her how he really feels for her.
  3. I would say that it all depends on the style of the music and the presentation of the number changes the style of masculinity of a person. In the music man, Preston had more movement and used his whole stage to get his point across, while in Victor/Victoria he is much older in am, and with a bit more elegance and class. Both characters are con artist, but they both play the game with a different handle, one youthful as an everyday man, while the other portrayed as an upperclassman who is well diverse and have seen the world. In the Music Man, Preston comes to town with a con in mind, but soon falls for the town librarian and so his act is in a trap, while in Victor/Victoria, he is a poor impresario trying to make a living, when he meets Andrew's character and turned her into a sensational star over night. His character maybe pretending class, his mouth has a way of getting away with him (both with promotional advertising to shady snaps at those who have angrily put him down in the past). I have unfortunately not seen any of Preston's other films except Victor/Victoria. But I think he's an extraordinary actor and hope to see many more of his great hits.
  4. The style of the music in this film is different from the classical hits, especially with Gypsy Lee Rose and her burlesque days and Baby June and her performance high kicks. Mama Rose was the splitting image of Mom-Manager, making her voice and appearance known to all and not let anyone try to step on her. Her entrance is grand and so is her exit. She makes her presence known, she steps over everyone in her path and corrects them to her views only. When she gets what she wants, then she is satisfied, but when you cross Mama Rose, the n the steamroller comes out. Mama always had a dream, as seen in the film and since she couldn't shine during her peak years, she brought out her two daughters Baby/Dainty June and Louise in the act and made them stars. Unfortunately they both didn't want to be what Mama has out for them and create their own persona in their individual acts (highly sophisticated stripe tease and an actress in films). The song can be taken any way the listeners want to take it. Whether it as a way to lift one's spirits or as a sexual subtext. Especially at the beginning of the film with Baby June singing to the audience entering in to their homes and hearts by entertaining them in a playful way, while near the end when Gypsy Lee enters burlesque and she sings the song with tease and class. The song meaning starts to change from happy to seductress and tease dance number.
  5. The ballet scene had a unique style to the film, a fantasy style number that brings a dream like look to it. Minnelli had a way to his films that he brought out all the elements that would make his films as iconic as they have been all these years. From technicolor, camera angles, costumes, and the lights to bring out the highlights from the films. Realism is a fair point in productions, but audience comes to watch films to get away from the things in their world that is tiresome and into a world of fantasy and amusement. Kelly has a charisma appearance that can be seen in all his films, he can be as charming or prideful and just as convincing as both at the same time. Although he starts off stand offish like an independent artist of that time, til he met Caron character and he becomes infatuated with her and he shed his pride away. But with his financier who offered to help him keep food on his table, clothes oh his back and his work gets the light as it deserves, though he act like a prude to her, especially her advances which was self explanatory, but he could have toned it down a notch.
  6. O'Conner able to play a straight character but in this film he plays a comedic sidekick to Kelly's straight man. From cracking jokes here and there to adding a comedic flare to his dance as seen in Make Em Laugh, and the two numbers he paired with Fit as a Fiddle and Moses Supposes. Kelly, more of an alpha male role in this film, as well as his dance flare is chest out, athletic physic and into a leading demure. Though their different character arcs, they show they can keep up with one another with Kelly strong and O'Conner a little bit flexible with their moves. A show the two did many years later, you can still see the two at their best and still able to compete in a friendly manner of course. Just watching the professor trying to keep his calm while the boys fool around with his lessons. A complete foil to the boys. But still a strong character, not letting the boys knock him down to hard or break him to hysteria. All three characters have their own arc thought out this scene, Kelly was the Alpha (leader of the group), O'Connor the secondary character, comic relief and one to keep the alpha grounded, and then the Professor who a third small character in the film, but held himself in content with the other two. Kelly plays the lead, a strong character who can't get knocked down with out getting back up, while O'Connor the comedic ally who isn't afraid to play all the roles like a one man show as seen in his character antics in Make Em Laugh and Moses Supposes.
  7. That's Entertainment is like an Anthem to all, like the Show must go one. The gang try to cheer Astaire character and get him to join the show. No matter what the show may be, it's in his blood and they know he'd be out of sorts if he back out now. As they sing, they include one another in all sorts of gags of the theater and full around like kids in a toy shop. Entertainer's entertain, even when they are off the stage. They each bring in their own self talents as well as those of their characters. Buchanan's pretentious satire theater elements, Astaire and Fabray's musical background of song and dance and Levant instrumental aspect from piano playing to comedic gags. The costumes are not matching, elegant or top over the top. Actors in the theater dressed and act the part of theater goes. Everyday patrons, not dressing up to blend in with upper class or struggling to make ends meet. Its almost expectant of Astaire to be in his top hat, tails and bow ties, like in his previous musicals, but his attire as well as the rest suit the scene just right. But the characters in this film are dressed to their character arcs: Buchanan's dress with class and elegance befitting to his character; Fabray, the feminine character of the group, nice dresses and a few items of flare to stand out, but still show what class or title she has - married to a writer, so her outfit isn't jewels, fur coats and sequin dresses; Astaire sharp, yet relax, even though he is the star of the show, he dressed at his best but not expensive; and Levant - a writer, slacks and tweeds, just what a writer at that time would dress. Buchanan - the head, director and holds himself at height (not just his height) trying to bring Astaire into the play to revive his career. He interacts with everyone, but has an tendency to step on others and change items to his enjoyment, that may not sit well with the others; Levant trying to please everyone with the rewrites and keeping his wife at peace; Fabray who at the beginning of the film is amour-ed with her husband til they have a fight because she sides with everything Buchanan says and not with her husband. And Astaire a strong, yet stubborn character is friends with all but can't put his self opinions to himself, but finally gets himself settled before the climax of the film.
  8. Petunia is shocked and yet amazed that Little Joe survived his brush of death and sings his praises. The style of the song, how I see it showcasing Petunia love for her husband restored as she thanks the heavens for returning her man, and in the next seen as she does the laundry, her tone and style slightly change showing Petunia now singing to her man with love, rather than singing about him. I don't think the style of the song would be any different if Little Joe was in fact a Baby Joe. The way Waters sings to him with such devotion and admiration, no matter what is in place, she'd still sing with the same love.
  9. There are a lot of patriotism shown in this clip as well as through the whole film. As shown in the first segment of the flashback scene, a parade is ensue with an adoring crowds cheering and waving flags. Not even a protester or naysayer in sight. Even going back to the beginning of the clip when Cohen arrives to the White house, what an honor to be invited to the court of the President, given Cohen someone the President admires and values. Cohen even wears an american flag on his lapel, small to see, but still important. Cohen even tells the President that ever since he was young american value was ensued to him, as his father never missed a parade/show as well that will his songs he made sure to pass on his values and support to others all over. Not just locally, but universal. When Cohen first arrives to the White House, his presence is not unwanted or unwelcome, just the Butler was excited to meet him, as if they are old friends and have known each other for years. The Butler makes note about one of Cohen's songs and how that song has been a favorite past time for him and his family. Showing that Cohen's work is a favorite to all minorities in the world, not just one group. Next, the conversation Cohen has with Roosevelt who tells Cohen about what a legacy he left behind and how much he touch the American way. He even makes point ti Cohen's nationality being of Irish american ancestry and how they always had a torch for patriotism as seen when his father ran away to fight in the Civil war. Many appreciate all that one does to serve their country and not ask for any reward or praise in return. I believe the opening of the film was great just as it was, rather then open it with Cohan's past. If they did start it off with the flashback scene, it would/could set the whole film on a different cart. Starting at the Presidents office, shows what importance Cohan was and that there is some contribution he must have had to catch the President attention, especially the walk up the stairs conversation with the Butler about one of his numbers holding a torch for many years. For example, "...about the grand old flag. Mr. Teddy used to sing it in his bathtub." "It was a good old song in its day." "Yes sir, it was and it's just as good today as it ever was." Cohan is of an elder age at the start of the film and with each breath of his voice, he echos what contribution he left for his country and how it didn't just start abrupt in his life, but he was born into it, like a lot of us today, with a strong foundation, moral support from family and friends and the urge to pass it along anyway and form as they can as well as not ask for any reward in return.
  10. Well Calamity Jane isn't like most women, she is a tough and strong character, like one of the guys, unfortunately she doesn't quite fit in the category of women in the 1950's. There are some characteristics that do play out. The 50's with the rebirth after the war (baby boomers) picking up on wholesome family values, as well as following guide to women feminine and how although women can be equal to men (as seen when the men were off to war, the woman has to do their part, keep bread on the table, work jobs, etc), they do have their place now. Day (tomboy qualities) and Keel characters are equal in every way, they don't see each other in any other way but acquaintances, but when an attractive gal comes to town, and catches the eye of every men, a quality Day character slightly desires. When she finally settles down and changes her persona to match her new found friend, although attractive to the eye, she feels out of place, especially when her crush elopes with her now ex-friend, and Heel character starts to notice her in a new light. Doris Day as stated in many of her autobiography books, that she is not The Girl Next Door (personal life) as her roles portray her to be, and one can see that in her films. She doesn't play the goodie, wholesome characters who must follow structure, she can be as versatile as other actresses of her time. She stands for her beliefs, fights for her man, holds her ground when trouble ensures and doesn't let others walk over her or put her down. Her sunny disposition can be at times a bit too much to handle and I am not sure how much the real Calamity Jane was that peachy, or hopelessly romantic. She was a tough character and one can see that in Day's performance, but truly one can see Day go back and forth from her own character demeanor to Calamity Jane's demeanor.
  11. I do like the privacy the two actors have in this number, but I wouldn't mind seeing maybe a few background actors (baseball players, spectators, etc) out side by the bleachers or watching the comedy scenario take place. Maybe a few ads here or there, or posters promoting the game. I never been to a baseball game before, so I am not quite familiar with the set up or the ambiance of the place, nor am saying they didn't set up the seen correctly, but there does seem to be a few things that could have been in affect. The chase and movement around the bleachers was a good effect of Sinatra's entrapment, as no matter how he tries to escape Garrett, she is at his every corner. When Sinatra exit the locker room while bouncing a baseball completely oblivious to Garrett waiting for him around the corner. When he tries to pass her, she blocks his path and soon a chase begins to take place with Sinatra running away from Garrett, who soon catches him in the bleaches. Some musicals I've notice have gone either two ways, 1.) Smoothed transition from dialogue to song, and 2.) a rough cut from dialogue to song that leaves the audience off key. However this film has a great transition at the start of this scene to the music number. Starting when Sinatra leaves the locker room, a pop tempo film score playing in the background that plays very well in this scene. Especially when Sinatra tries to run away from Garrett's seductive conquest, the music changes up the beat to follow along with their movement and when they begin running, the score gets faster and more lively. When Garrett calls out "Hey!" and the music stops and the musical number begins.
  12. The first film of Garland that introduced me to an amazing and talented actress was The Wizard of Oz. I adore the story about the Land of Oz ever since I was a kid and it still stays with me even now. And the rendition Garland gave in her performance as Dorothy was so moving and inspirational as a dream is within reach if we believe. Garland was a versatile actress and you can see what kind of drive she had in all her films donning from her child acting days at MGM to her amazing hits before finally reaching that rainbow the sky she kept singing about. My opinion of Judy hasn't changed before watching these clips and still will never change after watching them. Garland was a talented actress and left this world a little too early. No matter how many documentaries I've seen about her many demons, none of them have alter my devotion to her craft, charisma and legacy she left behind. All of her films, show off her amazing ability to capture an audience attention and hearts, but if I had to narrow it down, I would have to go with A Star is Born, Til the Clouds Roll By and Meet Me in St Louis. All three in their own way show off her immerse talent, strong will voice, characters that stand their ground, to list a few. When you watch one of Garland's films, you can see not only her talent to bring her characters to life, but also see a shed of her own emotional life seep through as well. Whether the film be a romantic comedy or a dramatic affair, you see Garland as her true self, not a facade.
  13. Just like its predecessor, minimum dialogue is used in this scene, its more visual, with the slight hands tricks, gestures, Chevalier breaking the 4th wall explaining the over obvious notions, the many guns in the drawer, the small tasks the husband can't handle (shooting, zipper, looking for an exit wound, etc) and Chevalier cleaning up as if this wasn't the first time he has done this (knowing where the gun should be place, not reacting to the gun shot, and smiling at the husband when he forgives his wife). There are a few sound effects in tact and some that goes unheard, like the gun she takes out of her bag, when they look inside the gun, when the wife drops to the floor just to name a few. Although the sounds that are shown have an interesting sound about them. The argue french voices behind the door, implying that they are not alone and others will soon follow them up there to their room. All in french, except for Chevalier 4th wall comedic responses. The tension then takes hold when we hear the door nobs of the bedroom rattle, until her husband comes into the room. Then comes the gun shot, that sounded rather off....foreshadowing the gag and then the zipper for her dress, the argument in french the wife gives to her husband to apprehend him. I would say the theme of the clip is love gone astray, infidelity as well. As if to teach her husband a lesson, she coups a suicide, the husband turns towards the lover and tries to shoot him, but instead finds out there are only blanks in the gun and that his wife is unharmed, but angered. He confines her and apologizes to the lover's amusement.
  14. One can see that the two are smitten with one another in the first clip, but can't get the words across. Eddy's tries his best to start something with McDonald, but she seems uninterested, especially when he tries to compare himself with the gentlemen she is already with. When he does find a common factor, he begins to sing, which at first McDonald brushes aside but finds herself smiling and taping along with the song. When he finishes the song, instead of expressing his feelings towards her, he brushes the song and says he can add any name, replacing Rose Marie to his leisure. Which leaves McDonald annoyed and once again unimpressed. On the second clip, as McDonald is singing, her style of singing does not match or impress the saloon goers and she lacks their attention. She's given another chance at a more lively number, but keeps at the same style as before and still doesn't receive any attention from the audience, that is till Eddy arrives. I have not seen any of Nelson Eddy's and/or Jeanette McDonald's films, but I have heard of the actors and have seen clips of their work during segments from That's Entertainment 2. My only perspective of the two were the chemistry between each other and the amazing classical singing abilities each share. There is an innocence and respective outlook between the two when it comes to romance. On the canoe ride they both have feelings towards one another and it is obvious to the audience. They both are respective of one another space and do not embrace each other in longing embraces, extended eye contact, as well as kissing. It is more in the way, when they act alone that gives out their understanding about what they are looking for ad well as their long for one another.
  15. I understand the concept of Battle of the Sexes could be found in this clip, but in all honesty in my opinion I don't see it. They are not competing with one another, more like showing that they are alike and just as well can keep up with one another. Astaire was smitten with Rogers character at the beginning and tried to get a moment alone with her to her neglect. When he does sneak the carriage and they find themselves alone in a gazebo during the storm, a plan is in motion. He sings about what luck they have by being caught in the rain, to her unimpressed. but soon catches her attention when she follows suit and they both begin dancing together. They even start to par with one another, not showing off whose better, but that they are alike and like I mention before can keep up with one another as well. The chemistry matches the other clips, but the style of dancing and romance varies. There is more engaging and reacting with the two leads then the other, a sort of four play. When the dancing starts, Astaire leads and Ginger follows, but then later adds a beat/ a quick step to Astaire's amaze and the dance takes a new turn when the two engaged in a little friendly par that finishes with a new outlook between the two. The era was on the verge of a change. Women taking more of a lead and didn't sit quietly and let others speak or act over them. There weren't afraid to react and stand their ground.
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