Jump to content
Search In
  • More options...
Find results that contain...
Find results in...

Kate Mz

  • Content Count

  • Joined

  • Last visited

About Kate Mz

  • Rank

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Thanks for this conversation, all! First, I just want to reiterate what Click5 is saying, that it was Broadway that was considered old-fashioned, not The Beatles: Also: I completely agree that the upheavals of the 60s-70s caused the disruption in musicals, not the other way around. What I was trying to ask is: how did the degree and nature of that disruption differ for musicals as compared to other genres? Musicals were experiencing a sort of passing-of-the-torch from the first generation of its creators (exemplified by the Freed Unit), and this is surely a critical moment for any genr
  2. Great point! And one of Jordan Peele's influences was Night of the Living Dead (1968) which was a big disruptor in its own time--both for its story and because the hero was a black man. (Confession, though: I rely on friends to educate me and tell me which horror movies are worth my while because I have a hard time watching them. I need to really psych myself up. What's funny is that I'm perfectly willing, even happy, to go through the psychological tension if I consider the genre "suspense" or "thriller" or "science fiction." Darn those genre labels, they really mess with my mind!) Back
  3. First, thank you for weaving together all these ideas under one umbrella! Second, I finally got around to listening to Monday’s podcast (the optional one that pairs with that day’s lecture notes), where Dr. Edwards makes a fascinating point about genre: “The musicals are being disrupted because there’s no longer this single idea of what the musical may or may not be. . . . I start to see and feel experimentation here. I start to feel that after we saw the 30s, 40s, and 50s play out, what ends up happening frequently in the evolution of any genre, is we’re now back into an experimental era
  4. The Blue Angel / Der Blaue Engel - Marlene Dietrich Bringing Up Baby - just the one song, but how can you go wrong with Katharine Hepburn, Cary Grant, a dog, and a leopard? Sabrina The Man with the Golden Arm The Red Balloon Do the Right Thing Strictly Ballroom The Adventures of Priscilla, Queen of the Desert Muriel’s Wedding (what is it with ABBA in Australia in 1994?) Empire Records Trainspotting Run Lola Run Amélie
  5. Beautifully said. Your words remind me of this little piece: https://birthmoviesdeath.com/2016/11/10/sing-street-and-fighting-bullies-with-art . Another thing about Cabaret is it shows how evil can seep in to a culture in the guise of beauty. The first time I saw it, I was blown away by how the staging of "Tomorrow Belongs To Me" takes the naïve viewer on the same journey that an observer in Weimar Germany must have experienced. Chilling.
  6. Gosford Park (2001): set in 1930s England, one of the characters is Ivor Novello, a popular Welsh songwriter and actor of that time. He's played by Jeremy Northam and is frequently called on to provide music for his fellow guests at the country house party (much to the chagrin of the cranky Maggie Smith!). One of the key scenes plays out as he sings the wistful "The Land of Might-Have-Been."
  7. 1. I agree about the wonderful Bedknobs and Broomsticks (1971)! 2. Adding to the list of popular jukebox musicals: Moulin Rouge! (2001). Baz Luhrmann is one of those "love him or hate him" directors who depends on big spectacles, and music is a key part of all his work, so it's natural that his most popular film (at least I think it is) is an actual musical. 3. In the category of "odd attempts at a musical where the songs seem unnecessary to an already-fantastic story," I nominate Goodbye, Mr. Chips (1969). As I recall, the songs are intended as intimate asides where the main charact
  8. You’ve all made such great points about the power play in Gaslight and MFL: how Cukor helps us identify with the woman, showing how a man manipulates her emotions. The difference, I think, is that Higgins believes in his own illusion. He believes he is the benevolent teacher, out to better humankind through the gift of speech. In fact, he has the whole household brainwashed. When his servants sing “Poor Professor Higgins,” it is played for comedy (in stark contrast to Gaslight). But then we get the lead-in to this darker scene, when even the gentlemanly Pickering congratulates H. instead of El
  9. Anything from My Fair Lady--probably 'cause so much dialogue is straight outa Bernard Shaw! The whole influenza/gin conversation makes me laugh so hard I cry--especially "Them as pinched it, done her in," and "Gin was mother's milk to her. Besides, he poured so much down his own throat, he knew the good of it." Also, Lerner does a superb job bringing details from Pygmalion into his lyrics, like putting Eliza's love for chocolate into "Wouldn't It Be Loverly." Two of the funniest lyrics stand out to me because of how the listener starts anticipating what the next words might be, but we get a
  10. Really interesting! I'd love to see it played that way. Making the gender ambiguous adds to the risk not just for the film but for Garner's character. Raising the stakes in that way would, I think, make it more interesting to watch.
  11. I love what y’all are saying about the precision of Preston’s movements (in both clips) and his skill at working a crowd. What I want to add involves the play between tradition and change in the two films. In The Music Man, Harold Hill is appealing to tradition (“Remember the Maine, Plymouth Rock, and the Golden Rule”; he also tries to win over the mayor and other authority figures), but if he succeeds in conning them, the whole town will be upended. (Just imagine: when they discover they’ve been duped, the bickering and finger-pointing of the school board will spread all over town.) B
  12. Great topic! I'll have to look for the original songs from On The Town. (I think the moral is: if Leonard Bernstein is good enough to write you some music, please keep it in the show!) On The Sound of Music: I adore the film, but I wish they'd kept the song "No Way to Stop It." It shows the divide between the Captain's response to Nazism (resist) and his rich, cynical friends' (appeasement). Plus it gives Max and Elsa a chance to show their stuff. It's upbeat and catchy, which shows that just because something is aesthetically pleasing, that does not make it ethical or desirable (something tha
  13. Other than Holiday Inn, I confess to having very little exposure to Fred Astaire. Then I watched Top Hat and came out with a ton of appreciation for both him and Irving Berlin!
  14. You know those dancers--all show and no substance! At least that's how the film has it: that Bing's singing has all the meaning and emotion, so he deserves his first choice in love, but Astaire's dancing is all style and flash, so he doesn't. What's funny is that in that early number, which shows off their rivalry, I find Astaire's section, with its upbeat, playful tempo ("wait until you get a load of my dancing"), more interesting to look at AND to listen to than Bing's more languorous lyrics (which always strike me as too showy). Still, I have such a positive impression of both performers, I
  15. Thank you for all the thoughtful posts on this topic! Another thought on why the light/dark opposition plays out differently in Cabin in the Sky. Petunia, played by the darker-skinned Ethel Waters, is loyal, modest, and godly. She also (mostly) follows the rules--not only of religion, but society and propriety. She "knows her place." Georgia, played by the lighter-skinned Lena Horne, is always breaking the rules, breaking boundaries, threatening the status quo. In the film, that status quo is a close-knit African American community, but in America at large, the status quo is controlled by whit
© 2022 Turner Classic Movies Inc. A Time Warner Company. All Rights Reserved Terms of Use | Privacy Policy | Cookie Settings
  • Create New...