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tmatth17

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  1. 1. If the song had been performed more theatrically with Streisand belting it out, it would have made the whole scene less emotional and intimate. 2. As she sings, he just looks on, entranced, by her performance. 3. The soft lighting enhances Streisand's beauty and emotions as she sings. While she is performing, the camera is always focused on her while Omar Sharif's character stays in the background.
  2. 1. In comparison to Gaslight, I suppose you could draw a connection between Hepburn and Bergman's characters especially in this scene. While Hepburn's character is not being convinced she's gone mad, this scene does echo Gaslight with the male character having quiet, calm demeanor, trying to convince the woman she's being silly, while the woman is screaming and crying. 2. Cukor gives Hepburn the spotlight here with the frame focused on her while Harrison's character floats around in the background. This scene is all about Eliza and her feelings after all, so it's only fitting. 3. Cukor's direction highlights the difference between Harrison and Hepburn's characters in how they show their emotions. Eliza is constantly moving around while Harrison's character maintains his composure and only really moves when he goes to offer her the chocolates.
  3. 1. Men are able to break out of the more traditional masculine roles that they had been in in musicals of the 1940s and 1950s. There isn't a distinguished alpha or beta male role that male actors have to fit into. 2. Regardless of what Robert Preston is doing, he seems natural and believable. I would honestly not have recognized him in Victor/Victoria after watching the clips from The Music Man. 3. I have not seen another movie of his.
  4. 1. The backstage auditions echo older musicals like Busby Berkley's 42 Street but the addition of the vivid, eye-catching colors that were prevalent in musicals of the 1950s and 1960s are seen here. 2. Rosalind Russell certainly knows how to make an entrance and she's no exception here where she grabs everyone's attention as soon as she bursts through the door. She climbs on stage and takes control of the entire situation. 3. As sung by children, the song's lyrics seem innocent but if it were sung by an adult, I can definitely see how one could pull some subtext from the song.
  5. 1. I don't think that the entire film needs to be unrealistic and stylized. This clip helps set the scene for the movie and Jerry and makes the ballet sequence and other stylized musical numbers even better. 2. Even when he's playing unlikable characters, Gene Kelly's natural charisma and personality show through. Jerry is snooty and brash, but it still comes off as charming and honest instead of downright mean.
  6. 1. Donald O'Connor's sarcastic remarks and making faces behind the professor and Kelly going along with it show how they work together as a cohesive team during the musical number. 2. The straight man makes everything funnier when watching his reaction to O'Connor and Kelly's antics and just looking absolutely baffled at what they're doing. 3. The Alpha Male/Beta Male dynamic between Kelly and O'Connor in the movie is not really noticeable in this scene. Instead, the Professor plays the confused, bewildered Beta Male while Kelly and O'Connor dominate the musical number.
  7. 1. In comparison to other female roles of 1950s musicals, I think Day's Calamity Jane is a bit of an outlier. While Jane does become more feminine, she still wears men's clothing instead of frilly dresses. 2. I mainly know Doris Day as a comedic actress in movies like Pillow Talk with Rock Hudson, although I do know she later made forays into dramatic movies such as The Man Who Knew Too Much and Love Me or Leave Me. While I do enjoy some of her more serious roles, she definitely shined the most in her musical comedies. 3. I personally think that Day's personality works well in her role as Calamity Jane. From the first scene, Jane is made to seem like not a various serious person so the happy-go-lucky Day works well here as well as in the last scene where she fully embodies the feeling of a woman in love.
  8. 1. The four characters act as an ensemble and are in sync with each other for most of the song. Unlike earlier movie musicals where one or two characters were the centerpiece of a song, these four work together as a team. 2. Everyone is dressed in neutral colors and in nice clothing so they it enhances the ensemble of the group instead of having one character stick out. 3. The men in this scene are the ones doing most of the physical gags and dancing while the woman comes off as more of a supporting character despite being part of the ensemble.
  9. 1. The way this scene is directed demonstrates that while Petunia and Joe may not live a lavish lifestyle, they place importance on the simple things in life like their love for each other. It also shows that Petunia is a devoting and doting wife and despite Joe's ways, she still loves him. 2. It would seem odd if a happy song like this was sung to a child that had just gotten shot. A mother would be horrified and devastated to have a child severely wounded. 3. I think this film is incredibly important in breaking out of the African American stereotypes typically portrayed on film and showing that African Americans are more than just servants, slaves, or comedic relief. At a time when African Americans were fighting for equality in the military during WW2, this film is a push for equal representation on screen and reflects the push for equal representation in all branches of the military.
  10. 1. The camera pulls in tight to the actors, like when Garrett corners Sinatra at the beginning of the scene, to highlight how she traps Sinatra. When it pulls away, it gives the feeling of a chase as she races up the bleachers after him. That wide shot also gives a comedic effect because it's amusing to watch Garrett keep up with Sinatra in that long dress and heels. 2. The music builds up to a crescendo with Garrett's "hey!" which then immediately transitions into the musical number.
  11. 1. As I'm sure it is for most people, the first film I remember seeing Judy Garland in is The Wizard of Oz. I remember being amazed at how such a deep and soulful voice could come out of someone as tiny as Judy. 2. I am always happy to see Judy Garland exercise her comedic talents and her dancing - even though she isn't a trained dancer, you would never know. 3. Her personal favorite film of mine, A Star is Born, demonstrates that she is just as good in a heart-wrenching romantic drama as she is in a comedic musical. Her performance of "The Man That Got Away" is, in my opinion, one of her best performances and perfectly demonstrates her ability to capture the audience's imagination as a storyteller through song.
  12. 1. As Cohan is being led up the stairs, you see paintings of former Presidents that to Americans represent American values - especially George Washington, which is the very last painting we see at the top of the stairs. Setting the flashback scene during a July 4th parade allows the American flag to be put on full display and to demonstrate the patriotism of Americans. 2. During Cohan's conversation with FDR, the President brings up Cohan's life-long patriotism and praises Irish American's devout allegiance to their country. Cohan admits that he always had a flag in hand and also references his family's patriotism with the anecdote about his ancestor that ran off and joined the Union Army at 13. 3. I think that opening the biographical music with the FDR conversation in the Oval Office frames the movie and gives it context. If it had began with the Fourth of July Parade in Rhode Island instead, the audience would not have the background knowledge of Cohan and the audience may think the movie is about his father instead. It also sets up the movie to seem more like Cohan is reflecting on his life and telling his story to FDR which makes it seem more natural rather than a straight-up biographical film.
  13. 1. Aside from the dancing competition between the two, I didn't really see any other aspects that remind me of the battles of the sexes you might see in the movies that pit Katharine Hepburn and Spencer Tracy against each other. 2. Instead of fanciful, large-scale musical numbers, this one is quite intimate since it is just Fred and Ginger dancing with each other. 3. I think it could have to do with changing attitudes towards women at the tail end of the Depression into the 1940s. Or perhaps the audience was tired of the same old "woman stuck between two men who are vying for her attention" shtick that had been in earlier movie musicals. Another reason could be due to the Production Code - it would be easier to depict a battle of the sexes and still stick to the Code instead of having a man trying to woo a woman.
  14. 1. Lubitsch focuses on details and props that help us to understand Alfred better - the garter that belonged to a different woman and his collection of small guns tells us that this is usual behavior for Alfred and that he is quite the playboy. 2. The use of sounds like the doors rattling and the gunshots adds a touch of drama to the comedic scene and makes the audience feel tense. 3. Based on the scene's setting - a luxurious apartment - I would guess that other Depression-era musicals will be set with similar backgrounds that feature rich people. I think that musicals from the same era will also be more comedic instead of dramatic.
  15. 1. The interactions between the two are playful and coy, especially in the scene on the boat. Even though Eddy's character sings a sweet song about Rose-Marie, she doesn't immediately fall into his arms instead teasing him while he teases her by replacing her name with names of other women. It's the typical back-and-forth banter you see in all romantic comedies. 2. I knew of Eddy and MacDonald before this course, but haven't seen a film or TV show with them in it. 3. These clips demonstrate how romances under the Production Code are supposed to be - romantic, but still proper. The two characters flirt with each other and trade barbs, but they don't fall into each others' arms immediately. Eddy and MacDonald's characters are portrayed as upstanding people - Eddy's character is a Canadian Mountie and MacDonald's character is nicely juxtaposed with the saloon singer which demonstrates how proper and classical she is. I imagine that romances in all movies made under the Production Code are very similar to this - light, uplifting, and funny but with just enough romance that it stays within the morally acceptable boundaries.
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