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cris.fashioncine

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  1. The lesson on Rose Marie (1936) states that Nelson Eddy commingles with MacDonald vocally. I find this very interesting especially during the Production Code, because the commingling is not directly explicit but implied in different ways, here it's through singing and through the glances the characters give to one another. This is one creative way that production code films abide by the rules while at the same time subtly breaking them. The first scene shows a romantic scene, with the lieutenant serenading Jeanette Macdonald’s character on the boat in the river, under the moonlight. And y
  2. In thinking about The Lubitsch touch, I noticed this when the husband is trying to button his wife’s dress and looks over at Count Alfred Renard with a look of disdain, and the Count simply smiles and smirks at him, as if finding the situation quite amusing. And the scene where the husband shoots the Count is quite comedic, because the Count himself helps the husband try to figure out why the gun didn’t shoot him. The props the Count uses, for instance the fake gun and the many garters he has stored in his drawer, help us understand he is a jokester, and enjoys stirring trouble. I
  3. 1. I do agree. Anna Held, while on stage shines the light from the mirror on the audience, which spotlights a highly fashionable and well-dressed audience, all the while she sings the chorus line, “to play with me, to play with me”, as if everything and everyone in the world is carefree, willing to “play” with her and forget the harsh reality. -That Ziegfeld sent her a large bouquet of orchids (quite expensive, I assume), also speaks to the disregard for the real-life troubles of the people. -Many people have also pointed out Ziegfeld’s lack of care about money, to which I agree.
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