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About Lanin

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  1. Still waiting for mine. I double checked my profile info just to make sure.
  2. My wife and I actually purchased the movie on Amazon, and got $4 worth of the $8 we spent. By the time summer had rolled around in the film, we had decided we didn't really care what happened to the two of them, and that we'd heard enough of the music and seen enough of the dancing to know that the second half wasn't going to be any different. We seldom leave movies unfinished - we even sit through the credits in the cinema, much the annoyance of anyone who goes with us. But this was a stock romcom so predictably boilerplate that we just didn't see the point of finishing it.
  3. Well, having seen it, at least no one can use the "you just have to see it" argument. I'm sorry you didn't like it, but that's how taste works. For my part, one thing I like about the show (and I'll admit it gets kind of tedious - you can imagine how our Founding Fathers felt having to actually live through it!) is that it's not a "70's show'. It's a product of that decade, but the writers tried to capture the music style of the period. Even "Mama Look Sharp", the song the young soldier sings, follows the pattern of folk songs of the day.
  4. Isn't The Producers a groundbreaking film? The first movie musical based on a stage musical based on a movie?
  5. The restored version of Metropolis is one of my favorite films. I've seen it so often I can read most of the German dialogue on the actors' lips. A Mad Science course? I'd be all over that like butter on a duck!
  6. It does say something about it not being available until next week.
  7. Do we need these stinkin' badges? I mean to say, what does one actually do with them? I'm not really familiar with this particular online phenomenon.
  8. Noticed a "whoops" in the quiz, in question #8. Professor HENRY Hill? You got trouble, my friend.
  9. There was a made-for-TV version of Bye Bye Birdie in 1995 that adheres much more to the original stage production. My beef with the Ann Margaret version is that it stops midway through the story, ending at the close of Act 1 when Hugo decks Birdie. The '95 version stars Jason Alexander and Vanessa Williams, and they do the whole show. Oh, and Jason Alexander does a wonderful job selling a dance.
  10. Richard Rodgers went on to use some of those themes in subsequent Rodgers and Hammerstein musicals, such as "Me and Juliet".
  11. I knew Robert Preston's voice long before I ever saw him act. As a kid, I would borrow Broadway cast LPs from the library and play them over and over. But The Music Man album was on my mother actually owned (along with South Pacific), so I listened to that one a lot. His slightly gravelly baritone had a power to it that could captivate you. As I say, it wasn't until later that I got to see the film version of Music Man, and Victor/Victoria wasn't that long after. A commonality I notice is his underplay. He's not a "wide" performer, rather, he keeps his focus and his gestures tight and precise. When he spreads his arms or points in the "Trouble" number, it's controlled, and his movements with the handkerchief in "Gay Paree" are specific and subtle. Oddly enough, one other performance I know from Robert Preston is strictly audio, the "Chicken Fat Song" he made for the Youth Fitness Program during the Kennedy administration, and which was sent out to public schools all over the country. SIDE EDIT: The kid's show "My Little Pony - Friendship is Magic" created a pair of characters, the Flim Flam Brothers, and gave them a song very similar to Robert Preston's "Trouble" number from Music Man. Not long after, the comic version of the show involved the brothers with a Shirley Jones inspired character, a librarian named Marian.
  12. #1 The setting is backstage, similar to what we used to see in the early 30's musicals. But this isn't a success story of the 42nd Street variety. This is a story of failure after failure. This is what entertainers in the rest of the country were doing while Ruby Keeler was saving the show and Flo Ziegfeld was Glorifying the American Girl. This was seedy hotels you couldn't afford, splitting eggrolls, constant reinvention to try to finally find the one hook that would win you an audience. And the irony, which we see from the outset, is that Baby June's got the chops. She's good onstage, she dances well, she projects energy. But Mama Rose is in charge, and neither June nor Louise are free to develop their own presence. #2 Both Ethel Merman and Rosalind Russell had unmistakable power onstage. But while Merman boomed, Russell machine-gunned. Russell's power was a juggernaut, of the kind we saw in her screwball comedies like "His Girl Friday" and musicals like "Wonderful Town". She enters moving forward, and never stops. Her eyes are constantly moving, her mind jumping from one detail to another. And to see the result, don't look at the manager or Uncle Jocko. Look at the band. They're loving it. They don't drag their feet, they don't roll their eyes. Rose tells them to jump, and they ask to what octave. Suddenly they've got someone who knows what she wants. And to top off the scene, you have her exit, hat pin in hand, literally chasing the poor Balloon Girl off to who knows where. That's Mama Rose - follow in her wake and you'll have the time of your life; cross her and you'll lose an arm.
  13. This might not count for some people, but I have to say Rankin-Bass' "Santa Claus is Coming to Town".
  14. It's an egot booster, I'll give you that. No complaints here about Rita Moreno. She went from there to shouting "HEY YOU GUUUUUYS" on The Electric Company. That's dedication. She and Morgan Freeman are tops in my book (Freeman did all sorts of silly characters in that PBS show).
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