Essentially this shot is a foreshadow of a later, much more famous scene in which the main character, Don Lockwood, gleefully tap-dances and sings to the catchy song. In his book The American Musical and the Performance of Personal Identity, Ramond Knapp describes the title song as a “particularly well-known song that expressed metaphorically the film’s capacity for ‘singin’’ during the ‘rain’ of the Great Depression.” While these characters appear to be genuinely delighted in spite of the weather that most would consider to be dreary, this juxtapose of imagery is satirical. The song itself is a strange contradiction that appears to be an anthem for staying positive in a bleak situation, but I believe that Kelly and Donen used this song to emphasize a greater problem in the entertainment industry. The purpose of using this song to open the film and to continuously use it in different scenes throughout it is to convey the message that Hollywood is fake. The entertainment industry ignores real problems and puts on a façade for the sole purpose of keeping audiences entertained, rather than creating meaningful art that address real problems in the world.
In this 1952 American musical comedy, this film focuses on the movie industry's transition from silent to sound films. Singin’ in the Rain features Gene Kelly, Donald O'Connor, and Debbie Reynolds. The story and screenplay for this movie was produced by Adolph Green and Betty Comden. The musical numbers were staged by Gene Kelly and they were directed by Stanley Donen. Although this film receives much admiration today, critics and moviegoers from the past did not pay much attention to it when it was released.
It also won 1 Oscar with another 11 wins and 6 nominations. The most iconic song used “The Time of My Life” won an Academy award for Best Music, original song” “Dirty”. To of been awarded an Oscar and won other awards just shows how amazing of a film it truly is. Writer Eleanor Bergstein explains in an interview from Samuel G Freedman’s article “FILM; 'DIRTY DANCING ' ROCKS TO AN INNOCENT BEAT” stating, “I meant 'Dirty Dancing ' to be a celebration of the time of your life when you could believe that a kind of earnest, liberal action could remake the world in your own image” (Freedman). IMDb also explains, “The movie is based on a script by American screenwriter Eleanor Bergstein, who based the story on her own experiences dirty dancing while vacationing in
“Kenneth MacMillan choreographed a ballet to Prokofiev 's music and this was premiered at Covent Garden in 1964, with Rudolph Nureyev and Margot Fonteyn in the title roles. Since then it has become a much–loved part of the ballet repertoire.” Finally, also Westside story is based on the Shakespeare play from 1957 by Leonard Bernstein. The themes stay consistent, however, strangely, although the play is supposed to be a tragedy it often seems more comedic than several other plays that Shakespeare wrote. This may be because it has more in common with the other comedies that Shakespeare wrote than the tragedies. One could say that Shakespeare wrote the ultimate piece when he mixed tragedy and comedy into one.
After watching the recording version of Shrek the Musical, I consider that it is a successful production if the purpose of this musical is to amuse audiences and bring them an enduring audio-visual feast. As a musical that is created based on a blockbuster, the basic story framework is without novelty – an ugly but kind-hearted ogre experiences lots of dangers with a friend, saves the princess like a hero and wins her heart in the end. However, I have to admit that Shrek the Musical does a fantastic job to convert a movie into a Broadway show, considering the high level of complexity and difficulty for a team to humanize animated characters and imitate scenes. There are a lot of details, including Pinocchio’s growing nose, in the musical that show off the elaboration. Undoubtedly, the scenery is one of the brightest spot in this musical.
Other short films classified as new wave including John-Luc Godard’s Operation Beton, Truffaut’s Une Histoire d’Eau, and several more. They experimented with various editing and visual styles and techniques similar to that of the Italian Neo-realists By the late 1950’s the new wave directors had gained enough acclaim to move up to feature films. Elements of the French New Wave have been absorbed by the modern film industry and many unique styles and techniques are still present today. However, the New Wave did more than just contribute some new film techniques. The French New Wave created a societally and intellectually engaged cinema experience.
In doing this the film self references the idea about the subject of a song being the singing itself or as Michael Tueth puts it “ a song about singing in a musical about musicals in a hollywood movie about hollywood”. The song Singin’ in the Rain literally shows the main character singing and dancing in the rain which in itself is reflexive. Another example of reflexivity in the film is the exploration of dubbing. After struggling with how Lina’s crass voice would destroy the film Cosmo comes up with the idea of using Kathy’s voice over top of linas. After a successful premiere of the film Lina’s is ousted as not portraying her real voice and Kathy is then celebrated.
While both people affected the general public and some diehard fans with their incredible films and TV shows, they did have personal lives including marriages and divorces. Both met the very unfortunate ending of suicide, but have made generous amounts of movies during their eras. These movies were also in different times. Robin Williams and Marilyn Monroe both starred in many movies and shows in their lifetime, but they also were many years apart in terms of when they filmed. Robin Williams was an avid actor.
Both the protagonists, John Travolta and Nicholas Cage seem to been having fun during the movie, portraying each other not just as characters but as actual actors, too The American audience seemed to enjoy the role reversal between the two actors and its stylized and violent action scenes and the film ended up as the 11th highest domestic movie of 1997. John Woo netted a number of awards for his direction including the Saturn Award by the Academy of Science Fiction, Fantasy & Horror Films. 7. Last Hurrah for Chivalry (1979) Before John Woo turned his attention exclusively to gangster films, he shot a number of kung fu movies, with this one, which was a tribute to his mentor Chang Cheh, being the best of them. His mortal enemy assaults Kao Pun during his wedding and although he manages to escape, his father dies during the attack.
One such Broadway pioneer, Stephen Sondheim, develops a style that relies on wit and shock factor to make statements about American society. Unlike the musical comedies that initially set a precedent for their gaudy numbers that highlight the performers, Sondheim’s musicals contain strong plots and characters that highlight the plot. The songs contribute to the setting and situation of the musical instead of distracting from the story. Audiences initially meet his musicals with mixed opinions: some love them for their intellectuality, but the musicals shock others with their bold themes. Presently, audiences increasingly respect Sondheim’s musicals for their innovative themes and formats.