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About jeaninejj

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  1. Gary Cooper was very handsome and not overbearing as a leading man. To see him opposite Barbara Stanwyck in Ball of Fire: Yes, Stanwyck acts circles around him, but Cooper makes a great foil.
  2. If I had to choose...31 Days, even though many of the movies from year to year are the same. However, a few new ones sneak in. My husband & I watched "Marooned" - not the most fantastic movie, but for its time, creepy and (in my memory) riveting. SUTS is nice sometimes; but God help me if there's an entire day of Dead End Kids.
  3. I too love "The Gods Must Be Crazy"! I remember seeing it for the first time when I lived in Berkeley, CA. I also like "Brother From Another Planet" by John Sayles - an alien comes to Earth and gets his directives via graffiti.
  4. That sounds like a fantastic idea, and very educational.
  5. I was glad that the film was suggested, as I have never seen it (or a stage version) and always considered the Founding Fathers dancing around and singing to be a little silly. My previous thoughts were not entirely dispelled; however, I did find the musical educational and generally compelling. Some of what seemed "silly" to me had to do with it being a 1970's film as much as the actual content. William Daniels looked about 2' high next to Ken Howard!
  6. As I watched the scene this time, it seemed that Wyler did a good job of navigating Streisand's experience with "belting" the song on stage, directly to the audience, with the needs of the film and specifically this scene, where Fanny and Nick are starting to navigate their feelings. A previous commenter noted that he always sort of felt sorry for Sharif, having to sit there and do nothing while Streisand sang - and I've always felt the same way. However, in the opening tracking shot where we see Sharif's shoulder as he follows Streisand as they both walk down the sidewalk, the connection between Fanny and Nick is established. Though by the end, Streisand is "singing to the audience" as she might do onstage, we know Sharif/Nick is there - and that leaves viewers free to interpret Fanny's lack of eye contact as vulnerability and shyness. Someone else commented on the art design in this scene - the brown, and Striesand's striking brown gown. When I first saw the movie as a teenager, I hated the idea of a brown gown (I liked pink!) - but really, the art direction of this scene is perfection.
  7. While I love AAIP, I also agree that Jerry Mulligan is obnoxious toward Lise (she even calls him on it), treats Milo like a spare tire, and overall acts like a spoiled kid. Sure, if you want to spend two years in Paris living cheap while trying to sell your own mediocre artwork, that's fine. Also, on Milo's part, if she wants to spend her money "buying" companionship, OK. But she could buy a better companion - one who would actually flatter her and pay attention to her. Gigi to me is creepy - the dialog about and treatment of women in that film highlights older men using and tossing aside women who are often younger. The movie is gorgeous, and I love Leslie Caron, but the last time I saw the film on big screen (about two years ago) I couldn't really watch Maurice Chevalier ogling "little girls." So - to indulge my love of musicals, I often have to blink past the gender treatments. Thanks for your thoughts, A Ryan Seacrest Type!
  8. I'd like to address the anti-intellectual streak in America that we see play in the treatment of the professor. It is highly traditional in Western culture to undercut the intellectual. That is the manly thing done here by O' Connor and Kelly. As much as I love the number -- and, boy, do I -- it depends upon undermining and making a buffoon of the professor. The lead and support are manly in their making fun of the intellectual. As the support, O'Connor is the sillier and more colorful of the two males while Kelly is smoothly dismissive of the same. He is in more subdued color. His dance is just a tick under the animated facial and physical gestures of O'Connor -- making him "the cool guy" alpha. Hearing that Levant was Freed's preference over O' Connor, I am glad they went with O'Connor as this is a masterful performance. Levant was an intellectual himself and would be hard pressed to fit into the character of as we know it. One of my frustrations with Hollywood (and the ticket purchasers) is the inability to embrace a Levant as the male lead type. Mother of Zeus, you are right on with this analysis - thank you for making the connection. Lena Lamont's voice instructor might not be mocked in a musical number, but she is not portrayed in a much better light. This also reminds me of On the Town - the Vera Ellen character's voice teacher is shown sneaking some booze and is not a savory character at all, just someone trading on an intellectual appearance.
  9. The first time I saw "Calamity Jane" was only about 10 years ago. I was struck by Doris Day's rather hyperactive interpretation of the tomboyish part of her role - mugging, making faces, talking like a comical interpretation of a rube. I was also struck by how in love Calamity Jane seemed to be with the other female lead, who was the "ladylike" character. The musical scene I've always found interesting is "A Woman's Touch," where the two women create a home together - no men involved! There is definitely a same-sex relationship vibe here for a 21st century viewer. The 1950's viewer got both: The fun, strong, capable character...but never fear; she also adhere to traditional gender and sex roles in the end. Viewers also no doubt enjoyed seeing Calam not only put on tailored clothes, but also lipstick and false eyelashes (take a look at those closeups during "Secret Love"!).? In terms of Day's overall career, I agree with those who say she got a bit "stuck" in certain roles. Though I don't care for "Love Me Or LEave Me" that much, it truly was a great dramatic role for Day. In the 1960s she got stuck in silly comedies that are fun to watch...to a point. I remember seeing "Touch of Mink" in the theatre as a child and actually feeling embarrassed for Day and the role she had to play.
  10. This is one of my favorite musical numbers, and now I see why. Interactions: This number highlights working together and having fun while creating a show. There is very little true dancing; most of the movement consists of steps and shticks - the result appears very casual and upbeat, with no "artistic skill" needed. Visually, Nanette Fabray's dress adds a bit of movement and life, though still part of a cohesive palette with Levant's suit. Others have already noted the blue scheme with Astaire and Buchanan - Astaire the conservative, dressy American; Buchanan, the artsy, ascot-ed "other" (he s not identified as British or European in the film, but the chacaracter easily reads that way for American audiences). The interplay here gets the story going. In this number, Jeffrey Buchanan is seen as just one of the other actors - which helps the audience relate to him during those scenes when he's being over-the-top artistic and demanding "more flame!" - we know that he'll turn out to be part of the team. Though it's not part of the daily dose or the questions - this dynamic also plays out with Cyd Charisse's Gabi character, whom we see as aloof until we see her with the rest of the company at the cast party.
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