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A Ryan Seacrest Type

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  1. It seems as we went into the 1960's, the male singers/dancers did not need to be the dominating focus of the scene. In the The Music Man clip, he isn't so much an alpha male as he is a Pied Piper of sorts. What starts as him giving his spiel to one person turns then into two, and then more, and soon pretty much the entire town. They hang on his every word and react as he wants them to. With the Victor/Victoria clip, he commands the room in a purely entertaining fashion. What sticks out the most to me with these two particular clips is that Preston isn't so much a dancer as a singer, and h
  2. I'm late on this one, but better late than never! Interesting musical, interesting clip. Rosalind Russell is awesome in this role, and the way she barges in and completely takes over what's happening (both literally in the film, plus overtaking the child singing on stage in that "talent show") is something you can't take your eyes off of. This is DEFINITELY not the style of musical we'd seen in past decades. I don't think anyone at the time could have predicted that musicals would undergo such disruption (the buzzword for this week's theme, it seems), but this was certainly something n
  3. Oh, believe me, I went into viewing the film with the best of intentions and a completely open mind. It just really, truly was that bad of a movie. We couldn't believe how lost we were 45 minutes in.
  4. I don't mean a movie you'd seen previously. I mean a movie you never had seen before that TCM happened to air, and you happened to watch either deliberately or just because you "stumbled upon it", and it was so bad you either couldn't believe you sat through the whole thing, or you bagged it midway. I rarely do not finish a film, even if it's bad. On occasion though, I HAVE TO just to save what's left of my sanity. Only one film that I ever watched on TCM, I had to bail on. That was The Legend of Lylah Clare. I knew it was probably bad. Why? https://www.amazon.com/Offic
  5. I nominate William Bendix for this spot...if there's enough of a catalog. I honestly don't know offhand how many movies he made in comparison to TV (The Life of Riley), but I always enjoy when he pops up on my screen. The Blue Dahlia is the most underappreciated noir of all time, in my opinion.
  6. Thank you for your take on...well, your take on MY take...lol...I actually love that you noted that the musical is meant to be "fun and escapist", you're absolutely right. I accept that times and norms and societal behaviors were different back then, and generally such things don't bother me when I see older films. I might squirm a bit at times (the crows in Dumbo, anyone?) but I get it was a different time, so I can look past it. Several years ago, I blogged all the Best Picture Oscar winners because my wife thought it would be fun to do (it was!), and it also gave me a prod to actually se
  7. That's actually a hell of a take on that particular part of the scene that I never would have thought of myself. Kudos.
  8. Thank YOU, and the multiple others who commented on my original post. I enjoyed reading everyone's take on the film and my personal feelings about it. Gigi didn't quite give me the creeps like this one did, but I can TOTALLY see why it would to some, especially in today's society. If Maurice Chevalier was walking around singing "Thank Heaven For Little Girls" in a public space today like he was back then, he'd be in the back of a squad car faster than you could say "Megan's Law", but I'm able to get past that in Gigi because the overall film just doesn't irk me like AAIP does. My wife
  9. Jerry Mulligan is friendly and chatty to most around him at the start of this particular scene. Unfortunately, that's where it ends. He blows off the American student for what appears to be no legitimate reason, and while the rest of the clip in particular doesn't make Jerry come off too badly, what happens throughout the rest of the film makes Jerry one of my least likable characters in any movie I've ever seen. Yes, An American in Paris looks wonderful. Yes, the dance sequences and dream sequences are beautifully stylized. Yes, Vincente Minnelli pulled off his usual signature tricks
  10. Before they begin dancing, Donald is performing the comedy while Kelly is more or less to me the straight man. Once the dancing begins, they are absolute equals. The professor is the one character here who remains the same: the comic foil. The patsy. My favorite moment here is near the end where Donald and Gene rip the poor guy out of his chair, seat him on a table or desk or whatever it is, and cover him with props. Even after this, the duo continue to dance while the professor just sits there, legs visible but otherwise completely piled on. To me, the best comedy work of the old days
  11. I enjoy both this and Annie Get Your Gun for different reasons. I've never been one to think that either Annie or Jane was better than the other one, or that the performance of one was better than the other one. I did personally wish that Day would either have the exaggerated twangy accent for speaking AND singing, as opposed to only having it when speaking in this film. That's really the biggest criticism I've ever had about Calamity Jane. I don't think her sunny disposition hurts the character a bit. I like how this character doesn't fully conform and submit to the "norms" of the da
  12. I really liked this clip. Fred Astaire--let's face it--is clearly the "biggest name" of the quartet, yet here he isn't highlighted and focused upon. He's part of the quartet, and willingly so, and there are times within the performance where you almost forget he's there because the focus is on Nanette, or on Oscar, or on Jack. And that's exactly the point. Everyone gets their time to shine in this scene. The four of them are even shifting left-to-right location throughout. The staging here is outstanding, allowing for some classic visual gags as well as the removal of the wall/door s
  13. From the looks of things, I'm afraid that if I discuss the movie I'll be spoiling the whole story for those that haven't seen it, so we're going to start this post with the ever-important... **SPOILERS AHEAD** OK, we've gotten that out of the way. The obvious devotion from Ethel's character to Eddie's is unwavering, and her relief upon seeing he survived the gunshot leads her into this song. We can see her mile-wide smile the entire time she's singing. What we don't see from the initial clip is most of the film! Joe (Anderson) has a second chance to reform himself,
  14. The segue question is interesting. It's actually what makes some not like musicals at all. As someone I know says in relation to West Side Story, these two gangs are about to fight so why are they suddenly singing and dancing? It is funny in a way, but it's exactly the point of musicals, to tell a story and further it when necessary with the songs. This particular scene starts with Betty chasing down Frank, who's trying to escape, and when she yells "HEY!" to him, he stops. At that same moment, the orchestra blares and we're kicking off the song. Perfectly fit, natural feel. I also like
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