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Hannah Beaudry

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About Hannah Beaudry

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  • Birthday October 20

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    Frank Sinatra, Classic Films, Astaire and Rogers, Classical and Jazz Piano
  1. 1. The pre-dance movements of O’Connor and Kelly are perfectly timed, rhythmic, and lead very slowly into the dance. It’s a seamless transition. 2. The professor was very uptight and wrapped up in his work the whole way. Looking at him, I think of what a marvelous actor he must’ve been. It would definitely be hard to keep a straight face with those two dancing around you! 3. As I said before, the professor seems uptight. He’s a classic version of a high class father figure, who cares mostly for his work. Donald O’Connor is funny, and in my opinion the better dancer. He seems to be th
  2. 1. I think Doris Day is representing women in a more unique way than other movies of the 1950s. During this decade, women were back to being portrayed as fragile and extremely feminine. Calamity Jane is nothing like that. She’s strong and her own person, she wears « the pants » and doesn’t allow any man to tell her what to do or who to be. 2. Before this musical, I’ve found Doris to play many happy go lucky characters (with the exception of STORM WARNING of course), whereas this part gave her much more depth. Later in her career, she went on to make movies such as YOUNG AT HEART, THE MAN
  3. 1. As I watch the interaction between the four characters in this scene, I notice they include and relate to each other as equals. In the beginning of the number, Oscar Levant, Jack Buchahan, and Nanette Fabray are trying to pull and convince Fred Astaire into playing a part. Once Fred Astaire is convinced, they all dance together, none of them really stealing the spotlight. All four of these individuals were extremely taleneted in very different areas, but instead of Fred Astaire taking over with a complex dance routine, or Oscar Levant stealing the show with a Tchaikovsky Concerto, they all
  4. 1. Each shot definitely highlights key actions. In the beginning of the scene, the camera is in the center, and catches everything between Betty and Frank. Later on though, the camera follows them up the stairs and zooms in on them when Betty corners him or sits on his lap. This keeps things very fresh instead of staying at the same angle the entire time. 2. This sequence does a marvelous job of preparing us for the singing. Frankie comes into the room bouncing a ball from one hand to the other very rhythmically, and the music starts. Betty corners him perfectly in time with the set-up b
  5. 1. The first Judy Garland I saw was most likely THE WIZARD OF OZ as a child. I don’t recall watching it back then at all though, so I would usually say THE PIRATE. When I was around eleven years old, my mother borrowed it from the library and told me she wanted me to see it. I did, and I remember loving her voice, and her character. I saw her as very versatile as she transitions from singing “Mack the Black” to “Be a Clown.” She had a very unique personality, a mix of strong and vulnerable, and I found that to be incredibly interesting. 2. Well, as someone who’s seen both of these films,
  6. 1. The scenes in today’s daily dose were designed to promote American values to audiences during WWII through flags, patriotic songs (Three Cheers for the Red White and Blue), and of course, the White House and Mr. President himself. They speak about patriotism in the scene a great deal, and the ideas are said in a way that would encourage the people of that time to be more patriotic and help out for the war effort. 2. The dialogue boosts American morale a great deal. In the beginning of the scene, the valet speaks of President Roosevelt singing “It’s A Grand Old Flag” in the bathtub thir
  7. 1. I notice that during the dance, Ginger is more involved. She proves she can do just as much as he can do, even though he’s leading the dance. I once heard in a documentary on TOP HAT that one of the oddest things about the dance is that after he twirls her, she twirls him. It showed equality, and was a quite unusual way of demonstrating it back then. 2. This film distinguishes itself from other depression-era musicals through its setting, characters, and plot. It’s setting is one of the most beautiful fairy-lands ever seen in musicals, although it was actually a Fascist Italy at the t
  8. 1. I notice that the Lubitsch touch keeps things light and funny although the scene would be serious in another light. Although most American watchers wouldn’t understand the French dialogue, he makes it easy for people of all cultures to understand through body language (this coming out only two years after the silent era, most actors were extremely good at that), and props such as the garter and the gun without bullets. These props along with the setting also give me the idea that Maurice’s character is a playboy, and isn’t serious about his relationships. 2. The arguing behind closed d
  9. 1. I notice the bickering quality these two characters have in these scenes. Although they argue (seemingly often), they will most likely fall for one another in the end. This allows for witty dialogue to keep it light and humorous, but it also gives a chance for good romantic scenes at the end of the film. 2. Unfortunately, I haven’t seen these actors in a full film yet! These scenes inspire me to go watch this one. 3. These clips tell me that during that era, the male was always supposed to pursue the female in romantic relationships. It’s a similar scenario with Astaire and Rogers
  10. 1. I do believe this clip exhibits a brighter perspective of life than might be realistic. William Powell (Ziegfeld) throws money away on a regular basis as it seems, something that was certainly not going on at the time of the films release. 2. I would anticipate more light-hearted themes and approaches to depression-era musicals. No matter how poor or how rich the main characters are, I would always expect it to still have humour and gayity throughout. 3. If this film had been done pre-code, I would imagine that this clip in particular would have more show girls in it, perhaps a bi
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