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  1. 1. Well, film is different from theatre because of the Camera(s) being capable of making all kinds of shots [by the time this film was filmed] while filming & Editing as part of the post production! Streisand’s performance of the song “People” starts from her talking with Sharif on the sidewalk. The song is Still treated as Part of "the Date". So, Moving camera(s) Around to create still shots and dolly shots while Zooming In and Out, then Editing all these camera shots as a polished sequence for Viewers to see everything on the big screen definitely produced a More Natural musical sequence than Only using Lighting to change audience's focus while Streisand performing this song to present her interaction with Sharif and her own thinking moments. Streisand's performance Is Theatrical AND Expressive, no matter this is a Musical on a Stage or a Musical in a Film. But, with the use of camera(s), Streisand did NOT have to go for Big body movements to convey her emotions throughout the whole song. She could make subtle facial and body movements for camera(s) to capture them. 2. The emotional transition moments can be seen as the followings: Sharif and Streisand both smile at each other and converse at the beginning. Sharif follows Streisand on the sidewalk till the railing while Streisand starts singing. He smiles and looks at her by the fence with Streisand still on the right side of the screen. On the other hand, Once Streisand starts walking on the stairs till she steps up to the landing of the stairs, she turns around to look at Sharif with her smiles to continue the interaction between them. Then Streisand turns around to break the eye contact with Sharif to keep on "Thinking Out Loud" for us to "Hear": She is happy with Sharif, and she can tell Sharif is into her, but what can the Future be for her and him? But, at the time, Sharif is leaning against the railing, still smiling and looking captivated by her. 3. Sharif keeps showing he is Captivated by Streisand the Whole Time while Streisand performing the song to continue their talk/date with Sharif and showing us what she is thinking about at the Same time. Throughout the song, camera made multiple shots of Sharif looking at Streisand or her direction by himself, Sharif following Streisand while Streisand walking away from him toward the stairs on the sidewalk, then Streisand standing on stairs looking at Sharif who is leaning against the fence and looking captivated at her, i.e. Sharif is in the scene, and at his direction, i.e. Sharif is NOT in the scene, and also Streisand singing on the landing of the stairs by herself. The distance between them while Streisand performing the song provides the Space needed to Shift the Focus back & forth by Editing these different shots in a designed sequence for viewers to also pay attention to the Song itself, which reflects Streisand's thinking, while keeping the Romantic Interaction between Sharif and Streisand Going! Throughout the song, most of the shots on Sharif are shorter but Effective "Reaction" Shots to reflect that he is attracted to Streisand. Streisand gets More Longer shots but these shots are to reflect her Thinking more often than to reflect her reactions to Sharif, though.
  2. 1. Both films, "My Fair Lady" and "Gaslight" in this case/in question, had the "Same" Director, George Cukor. Then, the Two Stories in Two Different Genres actually share the Similar/Same Theme: The two Leading Female characters are both removed from their Familiar environments to totally "Foreign" environments, to be exact, two big luxurious houses in London, England ... respectively! The two leading female characters both move into two big luxurious houses in London, English [just] to Fall UNDER the Control of the two Controlling leading male characters ... respectively as well! Both lead female characters have to go through Big Emotional Roller Coaster Rides, e.g. Anger, Confusion, Fear, Frustration, day after day ... till they Finally break the Control imposed upon them by the two Controlling lead male characters and go back to be the FREE Selves they once were ... respectively! So, the filming techniques applied to enhance the stories include, for example, the main rooms in the scene are NOT always Completely Bright or Well Lit for the afraid or angered or confused lead females in the scene to go through their emotions, crying even. But, when the emotional lead females either become more confident about what they are about to do or are forced to react, e.g. to Confront the Controlling men, they mostly will be moved into the Brighter or Better Lit area in the rooms. In this clip, Eliza, i.e. Audrey Hepburn's character, turn one brighter lamp OFF to crouch down and cry out of her anger first -- in the Darker area; then Professor, i.e. Rex Harrison's character, comes in ... to find his slippers, Eliza throws the slippers at him, the gets UP -- Now, there is Light on her face; she then struggles with Professor and is dump on the sofa (?) which has a lit lamp right on the table by her face and this is the moment and where she starts to express her anger to Professor. 2. Wow! The filming techniques applied and the example described ABOVE for the #1 Question extends for the #2 Question here. Now, lots of things happened before the segment we can watch/see here. The Accumulation of whatever happened prior to this moment is Why Eliza comes to realisation that she is NO more than A Bet which Professor made with Colonel, i.e. Wilfrid Hyde-White's character. And THIS Realisation, really upsets her. However, Professor, on the other hand, has only considered this whole thing as an Experiment, a Bet, so that he only pays attention to what Eliza does to show others if his theory and his effort stand, NOT what Eliza Feels or Thinks Inside of Eliza. Thus, you see Eliza's movements go with different brightness in lighting, but NOT Professor's movements. Professor may be good at Phonetics, but Definitely NOT human feelings and human relationships for sure, even his mother has problems with him in this aspect which comes into the film later. He has NO idea Why Eliza is Outraged, but he does offer some Simple Solutions, e.g. Chocolates, telling Eliza to sleep it OFF, just to "get it over with". 3. Once these two character start talking, or say ... Arguing, Eliza stays in the area of the SAME Brightness with Professor. Now, they are Equal! Eliza does NOT just answer his commands to practise anymore. She Expresses herself More than what Professor asks for. She throws Professor's slippers at Professor, yells at him, talks Back at him. She expresses she knows about the Bet, and she is No More than A Bet to Professor and/or others, and she is Angered by it. She even wishes she "was" dead. He is NOT expected by her Outrage, but instead of Dismissing her, he actually makes suggestions TRYING to soothe her, or say ... to Stop her Temper Tantrum, even he has NOT thought very highly of her as a person ... Yet. Director also let these two constantly move around each other while talking to show their interaction has evolved from "Professor in Control of Eliza" to "Professor Reacting to Eliza".
  3. 1. All other Musical Films' leading guys are mostly Good Looking guys, and their Characters are mostly Good Looking "GOOD" guys and Heterosexual whenever Romantic elements involved to Get the Gals in the stories/films. But Robert Preston's character in "The Music Man" is actually a "Con ARTIST"/"Con Man", then A character as A Homosexual performer in night clubs in "Victor/Victoria"! Thus, in both films, both his characters need no REAL/TRUE romantic relationship with any female character in both films respectively. In the past, yes, being a Heterosexual male character and pursuing a female character in the film was a way to have a "masculine performance". But, some could be the Womanisers while others were Hit ON by females with different personalities respectively. Robert Preston's two characters here deliver "masculine performance" actually without romantic elements directly involved! Especially, his Homosexual character is NOT Feminine at ALL as the Stereotyped Homosexual men in ANY Business!!! 2. Robert Preston was actually a Stage Actor to perform LIVE, too. So, he definitely knew the power of Body language very well. He knew how and when to be Subtle, as well as he knew how and when to Exaggerate, to create and develop the depths or dimensions for his characters, so that you feel Reasonably REAL and you can relate to his character "Fast & Furious" to Believe. In "The Music Man", he acted he acted as such a straightforward guy to Fool the people listening to him in town. In "Victor/Victoria", he actually started a "club fight" by making a Seemly "harmless" remark! 3. NOT Really remember Robert Preston in Non-Musical films as much ...... Probably because those films were NOT Led by him?! Thus, NOT all his talents were showcased in these Non-Musical films. His singing voice is quite different from some other leading musical actors'. His singing voice was more of a captive baritone tone, actually a masculine singing voice. But, even when he contributed his singing talent to record "Chicken Fat" as part of a program by the President's Council on Physical Fitness to get schoolchildren to do more daily exercise in 1961, that song later became a surprise novelty hit like no others! I believe he would have been really good a wonderful Narrating and/or Voice Actor, just like James Earl Jones and Morgan Freeman ...... etc.! But, Narrating and Voice Acting were NOT in trend at his time ... Yet!
  4. 1. Shouldn't THIS be considered the Most Iconic Presentation for all the aggressive mothers, throughout the decades in the modern history, pushing their children to fulfil the dreams on some kind of stage, e.g. show business, beauty pageant, ... etc., these mothers can't achieve and even to make a living out of their children's hard works and sufferings?! Unsure why the video clip we watch here is considered "backwards to classical musicals". Sure, the story is set in the early 1920s, and of course, rich people would NOT send their children to audition for vaudeville circuits. So, if the "Backwards" is about the Behaviours and the Dialogues of these characters, the Costumes and the Set in this clip, then I disagree on the question based on the Nature of the story. Or, it's the sound and visual presentations of this film? This film is about the Nitty-Gritty of the Vaudeville Audition with a bunch of children to perform back in the 1920s, Neither the Glamour Nor the Sophistication of Broadway or Film Audition with adults and young adults as in some other films we have watched throughout this course. Yes, the film was made & released in 1962 with more advanced technologies. But, it does give a feel of the 1920s! 2. Well, since the character of Mama Rose is an aggressive mother, she enters the scene Disruptively. What A Big Entrance: She is Loud from the opposite direction which is NOT even in the scene, but you can hear her Loud & Clear before you even actually see her! After her entering the scene, she is Non-Stop in motion, in action. She takes over the stage, keeps on talking and commanding, moving around, and moving others around. She Owns the Stage Now! You are "forced" to pay attention Only to HER. You Cannot ignore Her! As to the actress Rosalind Russell, who portrayed "Mama Rose", she had not Only lots of acting experiences prior to this film "Gypsy" with Broadway & Theatre, but also "voice lessons" for Opera. Since she was Never considered as A Sex Symbol, she could signed up for various types of characters, i.e. NOT just Only the classy and glamourous roles. Thus, I'd think it was an advantage for her NOT to be Stereotyped as a One-Dimensional actress. Audience could buy in her character and performance directly! 3. I did NOT think if the Lyrics as "sly, subversive, or edgy" as the two girls's performance. at this time in the story, these two girls are NOT sophisticated on the stage ... Yet. They just do what they are told by their mother, NOT fulling knowing the impacts of their performance and their mother's aggressive behaviours. However, the the argument between the adults in charge is about either Talent or Pre-Arranged agreement while their mother bossing everybody at the scene around. I mean, in this clip, I feel the Lyrics are NOT as Disruptive as the two girls performing under their bossy mother's command!
  5. 1. Even though, in this film, "Paris" was built in ... just ... A Back Lot of MGM's film studio, it did NOT fail to deliver the Realist-ism to bring up the Feels of any audience/viewer being in Paris. However, the Ending "Ballet" in this film was to deliver The Fantasy, i.e. by default, being Unrealistic. Besides, all the ballet performances on stage are always considered as a form of Art to use human body movements to tell stories while expressing feelings, and human feelings are mostly considered Abstract by themselves. It actually gives viewers the Visual Contrast to enjoy the story with a very different approach. 2. In my opinion, Jerry Mulligan, i.e. Kelly's role, is NOT Exactly Unlikeable. He was very agreeable to fellow artists before the girl in Red approached him with her Disagreeable "opinions" in Jerry Mulligan's point of view. Thus, I consider Jerry Mulligan is a straightforward and expressive guy, instead. Self-Centred, maybe. Lots of artists are Self-Centred ...... various in degree, though! But, NOT to the degree of being Totally Unlikeable in the first place. And, Milo Roberts, i.e. Foch's role, had exactly THAT Observation to approach him the "proper" way!
  6. 1. In MY opinion, the Pre-Dance movements of O’Connor and Kelly actually made them perform the Comedic elements in this segment. On the other hand their actual Dance movements made them perform the Main elements of this segment. 2. Also, in MY opinion, the Professor, supposedly served as the role of the straight man, actually switched this role's Function from the Straight Man during the Pre-Dance movements performed by O'Connor & Kelly to the Comic Relief and the Representative on behalf of the Audience during the Dance Movements performed by O'Connor & Kelly! 3. The Professor is supposedly to be the Authority, but he is older now, can't always put Young Ones, i.e. O'Connor & Kelly, under his control. O'Connor's role is more like a Young Beta or "Average Joe" while Kelly's role is the Young Alpha, being Strong to Lead! Look at O'Connor, he goes along with the other Two's movements and having fun on his own but NOT to The Professor's face. Kelly, on the other hand, takes what he's Learnt from The Professor to apply and to challenge The Professor! LOVE This Film!
  7. 1. Unfortunately, in my opinion, the first half of the film, Calamity Jane was more like the females been joining & participating the Mainstream workforce during World War II. Then the War was over, all these female Workers were NO LONGER considered needed in Mainstream workforce which was the Transition of the Romance & Jealousy occurring in the film. Now, Calamity Jane had to start wearing a Pink Ballgown to do the Girly things. The society wanted Working Females to go back homes and kitchens where they considered females belonged ... regardless these females's capabilities or their will. In the film, Calamity Jane could NOT wear manly outfit to attract the one she loved or she thought she loved, either. Well, she probably could have, but the the screenplay writer did NOT allow THAT to happen! 2. To tell the truth, Doris Day started having a good career for herself and in film history during 1950s after this film. In addition to her talents and acting skills extended her career to be in many films of different genres successfully, her growing as an actress NOT getting affected by the side effects brought up by her fame, e.g. alcohol, drugs, bad health, emotional traumas, and/or bad marriages/bad relationships like ... Judy Garland, is NOT easy to come by. 3. Yes, Doris Day's own Bright & Sunny persona was a Plus to add into the film role of "Calamity Jane". Sure, good acting can transform you to somebody Else you are NOT. But, your public image in reality does affect how Audiences perceive you and your role. THIS, definitely helps to generate box office revenue! And Doris Day is a good example of it, her Bright & Sunny persona made her performance Natural & Believable in Audiences' eyes!
  8. 1. At the beginning of this clip, Astaire is to be convinced by the other three to join those three's idea. Then, Astaire shows he is sceptic but listening. Finally, Astaire is convinced to join and collaborate. But at all three stages, all Four performers are never separated as TWO Sides of people completely. AT the Beginning, Three are AROUND the One, i.e. Astaire, to convince at Astaire's Left and Right, leaving the Front View clear for the camera, of course. During the talk, the Three does take turns to APPROACH the One, i.e. Astaire, from Astaire's Left and Right, with moving Around Astaire's front and back, but Still Leaving the front view Clear to the camera. Finally, Astaire agrees to join and Four people move together in mainly Linear and, some Circle, formations. There is NO Moment of Solo act while singing. Throughout the clip, there are always more than One person in the scene, 2, or, 3, or all 4, no matter if any musical sentence is performed by Only One person or NOT at any given moment! All of these can be considered Different from other musical films, or even considered as the Opposite to other musical films. 2. Each person dressed in "business" to "business casual" for a semi-formal meeting at the backstage. You can tell what each's job and status is from the costume each has on. For example, Astaire's whole Matching Suit Set shows Astaire is more established if comparing to Levant's wearing separates. Then, you have Buchanan wearing something people Typically associate with male artists and male show/film directors ...... Look at the scarf on his neck! Since this film was made as a Colour Film, i.e. NOT a B&W Film, Colours are important to attract audience' attention for their viewing enjoyment. Thus, for a business meeting, i.e. NOT A Show, NOT A Party, all Four wears what considered Normal at the 1950s, e.g. NO bling-bling, NOthing skimpy, guys in dark or neuter colours, ...... etc.. So, the Backstage with all these Bright-Coloured props and sets gives the Contrast to make these Four performers "Stand Out". 3. While Astaire, Buchanan, Fabray, and Levant are carrying the Song together, you can see easily that Levant does NOT perform the Tap Dance. He basically Walks Around as the Comic Relief to bring up the next element for the Song to progress. For example, he brings a ladder to pass Astaire and Buchanan as the Staging. But, this ladder is So Unnaturally Long that Fabray even has enough time to pass Astaire and Buchanan to flirt with them as the Interplay. But, Guess What?! Levant shows up Again at the other end of that ladder as another Interplay! Another example to answer this question is, while all Four seemingly forming the Pyramid as the Staging, Levant actually walks forward to break the illusion for your surprise and/or laugh as the Interplay.
  9. 1. I think Petunia's moving from the Bedroom to the Yard shows How Happy she is for her life. Bedroom was a smaller confined space and NOT very Bright. On the Other hand, the yard to hang laundry is Open Bright Space to Interact with Fresh Air, Neighbours/Friends. Sure, Little Joe was Still on the Bed in Bedroom, now he's Also in the Yard to enjoy Open Bright Space to interact with Petunia, Fresh Air, and People in his New/Re-born Life! 2. A Mother singing about her child, instead of a Wife singing about her husband?! Well, it would only change from Romantic Love to Motherly Love, which is considered Timeless! Sure, her acting may involve more physical movements, e.g. patting that child's head, tugging child's blanket or shirt, feeding the food or adding more food to the plate or bowl ... depending on how old this child is, maybe also picking up the toys after this child, or even paying with her child. 3. I guess it was supposed to promote the Black people's life during that era. But, it also Created or Instil Stereotype(s). THIS, actually goes to all other films with just Caucasians, Too!
  10. 1. In my opinion, the music was made then pre-recorded based on the screenplay which had already been Choreographed. Thus, you do see these two characters' movements and the song, both the lyrics and the musical arrangements, along with the Sound Effects, Matched Perfectly! Of course, in this clip and also this film, Garrett's character is the Aggressor and Sinatra's character is the Passive one. He even did NOT get the chance to SING much. It's all her movements to initiate, such as to "Play" the Ball, to Chase him everywhere to Corner him, to pick him up on her shoulders, and even to catch him after his sliding down. No matter which Camera Angle, you mostly can see HER Facial Expression(s) clearly! 2. Well, mostly, musical films prompt us the singing will start by character(s) entering the scene with music, which is the case in this clip: Sinatra came into the scene with Music to be blocked by Garrett, then turned to another direction trying to escape from Garrett with music going along with this segment. Another way to hint us singing will start is by haveing the characters engage in some kind of conversation, e.g. Arguing. But NOT in this clip.
  11. 1. Either "Wizard of Oz" or a film with Mickey Rooney could be my first encounter with Judy Garland in films. I was Little, so my impression was toward whatever happened in the film, e.g. I did NOT think she was much older than her characters. I did NOT particularly impressed by her singing and dancing since I could tell Shirley Temple was "Younger" and could sing and dance Very Well, Too! Of course, as an adult, I am more impressed with her after watching more films of hers throughout the years. 2. In the 2 clips we watch here, Judy Garland has no problem to perform her singing, dancing, and acting equally well ... comparing to her co-stars. And she has 2 very different roles requiring 2 very different mannerisms and she delivers both! 3. This question is difficult to answer at this time. The films she starred in her later years, or say after "A Star Is Born", were NOT ALL Live Musical Films. She had drama films which had no singing or lyrics involved to answer this question fully.
  12. 1. What Else can go over the top than showing a patriotic performer meeting the President of the United States of America leading the whole country throughout the World War II in the White House for his performance as the President as in a biographic film?! Well, White House itself, all the portraits of the former Presidents along the stairs, National Flags, the 4th July Parade, and the conversation between Cohan and the President were designed to promote American values for audiences during World War II. 2. Basically, the whole conversation between Cohan and the President is meant to boost American morale. Cohan came out of his retirement to portrayed the President leading the country through World War II, the President praised Cohan's patriotic nature, and Cohan recalled his own life since little with Family and Perseverance. These were all the American morale the film was to promote. 3. The film started with White House to present the Relevance of the Time for the audience at that time to relate this film as A Current Event, i.e. NOT Fiction. Also, it is natural, when people converse in a private setting, the topics often trigger what have been remembered from what have happened in the past. Thus, recalling is a more dramatic way to tell the story of Cohan's life for this film.
  13. 1. This clip shows Rogers is NOT to Follow the Lead as lots of Ballroom Dances they do together. Rogers and Astaire dance together more as Synchronised Dance. So, one may consider THIS as the Battle of Sexes, or Battle of Gender. 2. It's A "Fred Astaire & Ginger Rogers" Musical Film! I mean the "Iconic" status. 3. Screwball Comedies went for something More Different from the era they were made, especially, in Gender Roles. Males were NOT always in Lead or NOT always got their way with Females.
  14. 1. "The Lubitsch Touch" is on the props, the dialogue, and the staging to show Count Alfred Renard was totally a Casanova, womaniser, playboy ...... i.e just NOT A [Royal] Marriage Material. Look at all the female clothing/fashion accessories, and how many guns, he collected from all those married females he had affairs with in the drawer! Arguing in French with this female whose husband came to catch them "in action" gives you more of the Details of this character for sure. Arguing from another room into this living room where WE are watching implies that "another" room was the Bedroom they were about to do Something but a Garter belonged to Somebody Else was also Found by the female he was having affair with. Then, the suspense or conflict coming from the opposite direction where Another Door is with that female's husband then Count Alfred Renard's boss, i.e. the Ambassador, who gave him a bit challenge and bad news. 2. The Sound actually is Truly Realistic in this film. You can tell the argument and the commotion from behind the closed doors to Enter where WE are both when he and his affair appear in front of us and the husband of the affair Trying to come in. Count Alfred Renard actually did Break the Fourth Wall to give us the Crucial Information! Thus, even if you don't understand French, you know for sure What's Coming! 3. Well, Lots of Comedies for The Great "Depression"! Lots of Romance and Love Affairs to distract minds struggling with the Depressive Economy and Daily Hardships people had to endure at that time.
  15. 1. At the beginning, Rose Marie was indifferent to Bruce because she, to a certain degree, definitely was uncomfortable with someone going to arrest her brother. Sure, romance occurred during their travelling together. Thus, she was upset when he was with TWO other women coming in the saloon. Typical, isn't it?! A Little Jealousy there! 2. To tell the truth, I don't remember IF I have seen/watched them together in films or TV shows. Too young to remember ... even though I have watched A LOT of OLD [Musical] Films with Parents and Grandfather while Little. But, I Do distinctively remember "Rose Marie" the Song! And, I can still sing along with him while watching the video clip! 3. Again, the GOOD Girl in this film, i.e. Rose Marie, had very conservative clothes on her to be Ladylike while the BAD girls had Form-Fitting fancy dresses on them to be on the daring and "fun" side. But, for me, imagining ... the weather in Canada?! To tell the truth, I would NOT think of "Hollywood Film Code" First. The Stereotype on Female, Male, and Female/Male Relationship has been instilled to create Gender Inequality for sure. A Guy can be funny and even flirting to get his girl(s), but A Gal Still has to be Ladylike and More Reserved, instead of being Daring and Showy, to WAIT for Prince Charming. But, we know, nowadays, Hollywood Itself does NOT follow the Morals it has put on the Big Screen ... Behind the Scene!
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