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Tupelo Honey

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  1. 1. How might Streisand’s performance of the song “People” have felt different in the film, had she been more theatrical and expressive, perhaps even belting her song more? This is a scene between just Fanny and Nick. It is personal. I feel that she is fairly theatrical and very expressive, but she is speaking to just him. 2. Note the emotional transition moments in this scene: how do the two characters relate to each other as the lyrics are sung? He watches her intently. She gets lost in her song and thoughts but looks toward him frequently. She laughs at one line. This is more
  2. 1. Explore any common themes and filmmaking techniques in a very different movie also directed by George Cukor, Gaslight. (If you are not familiar with Gaslight, compare and contrast Cukor's theme in this scene and his techniques with another musical you have seen during this course) I have not seen Gaslight, but I have heard that a theme of the movie that is common with MFL is that a very powerful has taken a poor, downtrodden woman, and takes control of her. As far as filmmaking techniques, the acting in many of the other musicals viewed has been lighter. Cukor may or may not be a woman
  3. 1. As you look back to the masculine performances in musicals of past decades, what changes in male representation, and performance would you say are most noticeable? I think the most noticeable changes are how the roles have gone from lone, romantic types in the 20s-30s to more conforming alpha buddy groups in the 40s - 50s who are in control of the situation, and now back to non-conforming individuals. Strong but many times taking a back seat to the women in the musical. 2. What other specific qualities do you notice about Robert Preston in either or both of these clips.
  4. 1. In what ways does this scene look backwards to classical musicals and how does it look ahead to new disruptions that we now know will happen in the movie musical? Gypsy looks back to classical musicals by being a backstage musical. It also takes us all the way back vaudeville. It takes us forward in that Rose is an assertive, vicious, not to be ignored woman. She is living out her own fantasies through her daughters, especially Baby June in the beginning. She is the stage mother of all stage mothers. She sets the bar high for that! 2. This is the introduction of Mama Rose in
  5. 1. Does a movie that has as stylized a scene as An American in Paris’ ending ballet need to use a less-than-realistic, stylized approach throughout the film? I love highly stylized scenes and they clearly allow the director to bring his own vision to a film. They take us into someone else's imagination. There has too be some realism to contrast with the highly stylized scenes and to carry the storyline and make it realistic. Stylized scenes work especially well in musicals where you have to accept a certain amount of suspension of disbelief anyway. 2. What keeps Jerry Mulligan f
  6. 1. How do the pre-dance movements of O’Connor and Kelly compare to their actual dance movements? The pre-dance sequence gets more and more fluid as it moves along. The fluidness of O'Connor's mimicking of the professor is like a choreographed dance between him and the professor and sets the stage for what is to come—a highly choreographed and syncopated tap of Cosmos and Don. 2. Watch the Professor all the way through and consider the role of the straight man. He seems to be very proud of his expert diction and with a little encouragement very easily slips into showing off rathe
  7. 1. As you reflect upon female representation in the 1950s, where do you think this film character falls in the continuum? Why? Doris Day as Calamity Jane is definitely challenging the stereotypical role of females at this time. She is proud to be in charge of a responsibility that helps her community. She believes she's as good at what she does as any man, but she is not getting a whole of respect. This is probably the way many women who worked during WWI felt when the men came home and continued to feel into the 50s. But she doesn't give up. 2. How do you think Doris Day grows as a
  8. 1. As you watch the interaction between the four characters in this scene, what do you notice about the way they include each other or relate to one another? How is it different from early musicals we have discussed? This reminds me of Garland and Rooney "putting on a show." They all work together in this. It's a collaboration. No one stands out, not even Astaire. This is different from earlier musicals because many times you had one or two who were the lead with others more or less performing backup. 2. What do you notice about the costuming of the characters that indicate cohesive
  9. 1. What do you notice about the way the scene is directed as Petunia goes to Joe’s bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song? When she goes to his bedside and sees that he is alive, she is so filled with joy that it's a natural segue into her song. It's hard to keep your eyes off Ethel Walters' face when she sings it because she is so expressive and her love for Joe just fills her body and face. I think the cut to the hanging laundry scene mainly shows the passing of time. Joe is better and Petunia
  10. 1. Thinking like a director and editor, describe how each shot spotlights key actions. This is actually a cute song and the choreography perfectly matches the words to the song. This must have taken a lot of time to plan and execute. I still don't see how she made that run up those bleachers in that long dress. 2. It’s interesting to examine how musicals segue into musical numbers. How does this sequence prepare us for the singing? I think this segue works better than others because there is so much action and the lyrics of the song are specific.
  11. 1. What was the first Judy Garland film you recall watching? What was your impression of her? The Wizard of Oz was the first film I remember seeing Judy Garland in. It was so long ago that I don't remember my first impression but I would think that it had to do with her seeming so genuine in the role of Dorothy. A good singer, actress and dancer. 2. How do you view her differently after viewing these clips than you might have viewed her previously? I've always thought she was extremely talented and she proves so in the clips 3. What films in her later career co
  12. 1. Describe how the scenes in today’s Daily Dose were designed to promote American values for audiences during World War II. Be specific. Refer to props, set design, settings, etc. in your answer. What could promote American values more that walking into the President's office. Portraits of former Presidents, flag in the room, speaking the song, Grand Old Flag, and about patriotism and Irish ancestors fighting in the Civil War for the Union. Then, a parade and lots of flag waving, etc. 2. Listen carefully to the dialogue in these scenes. In what ways does the dialogue and/or the scr
  13. 1. What other aspects of battle of the sexes do you see indicated in this clip or in the film Top Hat? Up to this point, he has been wooing and she has been ignoring his romantic advances. In this scene, he begins singing to her back, but eventually, she goes toe to toe with him dancing and proves she is equal. I think its funny that at the end they shake hands. It seems important to everyone that she was wearing pants. Maybe in that time period of the 30's, it was. Maybe it did put her on an equal footing with him. Today, we are more inclined to say that women are not only equal but perh
  14. 1. What do you notice about the Lubitsch touch? How do the props, the dialogue, and the staging help you understand the character of Alfred (Maurice Chevalier)? The Lubitsch touch certainly re-enforces the old saying, "a picture is worth a thousand words." The single garter in her hand, the two garters she is wearing, the gun, the drawer of guns, the zipper that the husband can't close, but the lover can—all say so much that the French being spoken is not a problem for those of us who do not speak it. The props (single garter, drawer of guns), the dialogue, and the staging all work togeth
  15. 1. The interactions between the characters in the two scenes are very different. The first scene takes place in a romantic setting—a guy rowing a girl to some destination at night. Nelson Eddy is trying to woo Jeanette McDonald and is being very romantic. She, however, is having nothing to do with him until he starts to sing. She is impressed with his voice and perhaps a little taken by the attention, but in the end, the light flirting gives way to the fact that he uses the name of the object of his attention every time he sings the song. Maybe he just doesn't want her to know how interested h
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