Film Analysis Of Singing In The Rain

Film Analysis Of Singing In The Rain
Singin' in the Rain was originally released in 1952, until it concealed by another prestigious film
called, "An American in Paris". Singin' in the Rain has gradually grown in popularity and appeal.
The case of Singing in the Rain demonstrates how the popular film, which has endured in value over
the years to achieve canonical status as a classic, changes in its meaning. I feel it is important to
define the word "classic" as it will be used here. Classic is a term that is "thrown around" and
generally used to describe something that is old or nostalgic. Many people will define an old car or a
past era or an entire genre of music as classical. In the case of Singin' in the Rain, classic not only
alludes to the film's nostalgia but to the film as a definition for an entire genre of cinema. The film's
meanings have gone under a good amount of revision since it was first made too. Interpreting
therefore amounts to much more than depriving a film's theme, however it makes the film an object
of inquiry in its own right. The film takes place in 1927 and tells the story of Don Lockwood and
Lina Lamont, a famous on–screen romantic pair. Kelly plays Don, who is able to successfully
transition into films with sound, but his partner Lina (Jean Hagen) has a rough time. Lina is "the
blonde bombshell with the voice like fingernails on a blackboard... the dumb blonde who believes
she's in love with her leading man, Don Lockwood because she read it in a fan magazine,". In an
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Gurglespla
The classroom has always been a place for learning and taking on new challenges. Normally, the
discovery has some kind of connection to the class one is taking, however recently 11 out of 10
students have reported a new kind of discovery: a musical one. Students have found a way to
exercise their right of freedom of speech through performing musical numbers during class.
Although only a select few are confident enough to perform in front of such an audience, if a
student starts playing, the teacher will automatically stop the class so that the rest of the students can
focus on what is truly important. The new genre is called gurglespla and the number of followers are
growing by the thousands per minute. The musical stylings of gurglespla ... Show more content on
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Surprisingly, it was not always well liked. Prior to the last couple of months, Gurglespla was seen as
annoying and disruptive by students and teachers alike. But then something changed within the
class's hearts, they realized the once annoying noises turned to beautiful enchanting music and that
the disruptive nature was simply an outlet for the student to express themselves. It is not the first
time something that once was unfavorable became likeable. Another instance is the recent fad of
food blues, where artist record themselves eating and drinking as rhythmic talent. One recent one hit
wonder Sammy Sam did not even recognize that he possessed such talent but that "one day [he] was
simply extremely thirsty and was sipping water in class" and one of his classmates asked him what's
the name of his album. He was otherwise oblivious to the genre and said he did not have one. The
student that posed the question then stood up, told the teacher, and the teacher proceeded to pull out
his phone and record Sammy's drinking

The Closing Musical Number Remains A Clear Example Of The...
The closing musical number remains a clear example of the films ability to handle the social issues,
contradicting the light–hearted narrative prior to it. This number makes up for its lack of integration
by evoking strong sympathy for displaced WWI veterans who now face a more intangible enemy in
the form of the Depression. It hearkens back to a time when the now 'forgotten' men were regarded
as heroes and when they understood how to live their lives and, consequently, how to love their
women. The image Joan Blondell reflects in this number is that of a strong, compassionate woman
who is standing up for the downtrodden man as an equal since, "Forgetting him, you see, means
you're forgetting me..." This portrayal markedly differs from the ... Show more content on
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The popular idea of the woman of questionable character who turns out to have a heart of gold is
used to some extent here, particularly if viewed from J. Lawrence's position. His eventual
acceptance and proposed marriage to Carol, who he first considered to be a lowly showgirl,
successfully levels the social standing between the aristocrat and the working girl. Although J.
Lawrence and Peabody assumedly begin as the villains of the picture, easily acceptable for
Depression–era audiences, their transformations seem to prove that even the rich have hearts, and
this could be an attempt to reconcile some of the animosity between the different classes.
Additionally, the initial notion of the girls as 'gold diggers' winds up being a misconception; only
because J. Lawrence and Peabody consider them to be this way do the girls play into their
expectations. In the end all of this exploitation and deception results in the three couples all married
or engaged to be married, a satisfying but most conventional resolution; both the gold diggers and
Boston aristocrats turn out to be little different than everyone else. Again, by suggesting the
similarities and common goals of different groups of people, this theme relates to the socialistic shift
in the nation's politics during this period that helped bring the nation out of economic ruin. The
notion of an

Gender Roles InSaturday Night Fever And Flashdance?
Gender roles that conform to age old stereotypes are often present within the musical genre. These
age–old gender roles are much of the time characterized by the women playing the role of the
housewife who takes care of home affairs and looks after the children, while having no control over
money or her own decisions, while the man is the only working figure in the picture, and the sole
provider for the family; in short, the female is the obedient follower of the dominant male.
From the article Gender and class mobility in Saturday Night Fever and Flashdance, author Chris
Jordan displays the prominence of these stereotypes within many different musicals. Oklahoma,
originally created 1955, evolved into a film musical as so many other stories have been. Jordan
states, "In Oklahoma, for example, Laurie is a farmer whose ordered lifestyle is symbolized by
fenced–in spaces, while Curly is a rancher whose world is wide open and free." Oklahoma, as
Jordan stated, is a very prime example of the women being put in the lesser position due to lifestyle.
As Oklahoma was created during the time in which these gender roles would have been seen as an
everyday way of life, it makes sense that these characteristics would have been widely incorporated
into the show itself.
Another prominent example comes from the musical film The Pajama Game. The main character of
the show, Day, known by her nickname Babe, was often forced into these gender roles alongside her
partner Sid. Author Jennifer Borda points out some of the many places in which these roles
occurring within the storyline. In one specific scene of the story, Babe and Sid realize that they are
in love with each other, and become at ease with their relationship. They then find themselves thrust
into their identity as lovers, which gives a glimpse of their future, in which Babe will become the
wife and homemaker, while Sid will carry on with the management job he holds at the factory he is
employed at ( ).
Although these very common gender roles appear in many musical films, there are also many
occasions of the characters fighting these gender roles. From the same story as mentioned in the
paragraph above, Babe also fights throughout her story to break out of the norms

Analysis Of The Film ' A Backstage Musical '
Part One
1. Absolute films:
"A particular type of Non Narrative avant–garde films are the Absolute films, which are completely
abstract films", the films that is nonrepresentational, using form and design to produce its effect and
often describable as visual music.
2. Sequence shot:
Sequence shot is basically amounting to one long shot that extends for an entire scene or sequence.
It is just one shot with what the camera can gather, without any later editing. And so, it allows time
and space to express itself, help the viewers to get meaning behind them.
3. Backstage musical:
A backstage musical is a genre of music devote to the inner workings of a production, it supports the
production of a play or musical revue. The songs performed in this context are considered diegetic
numbers in that they occur literally in the plot, though they do not necessarily move the story
forward.
4. Diegetic sound:
Diegetic sound is sound that is visible or implied in the film, or in other words, it is any sounds that
present inside the film's world. It can be the voice of actors speaking to each other, sounds come
from the object on the screen, or music that comes from a sound system or orchestra. Also, Diegetic
sound are known as actual or literal sound. Besides, diegetic sound can be either on screen or off
screen base on its source within the frame or outside the frame.
5. Cross–cutting:
Cross–cutting is the jump back and forth between two or more locations, and

Genre Analysis Essay
Genre Analysis
The musical film has always held a special place for me. From my time as a drama student in high
school, my eyes have been opened to the amazing world of the musical and especially the musical
film. The musical film is a film genre in which the characters sing songs that are integrated into the
overall story. Since musicals first began in theaters, musical films usually contain similar elements.
These elements often simulate that there is a live audience watching. In a sense, the film viewers
become the audience members, at a theater production, as the actor performs directly to them. Due
to the popularity of musicals in the theater, the style was quickly brought over into film. In 1927, the
musical film genre began ... Show more content on Helpwriting.net ...
The film was nominated for a number of awards, including a GLAAD Media Award for Best Picture
Musical/Comedy. They may seem quite different on the surface; however, the similarities they do
have in common are mainly due to the genre they share. This is shown by the use of music,
production design, and film techniques.
The use of music is a key to determining if a film is in the musical genre. Not only are songs used to
further the story along in a musical, but they also have the ability to put the audience in the
emotional state of the character singing. Song has always been used as a good conductor for
emotional understanding. For example, during the song "You Were Meant for Me" in Singin' in the
Rain, Don Lockwood is able to confess his love to Kathy Selden in a way that feels magical and
shows a connection between the two would be lovers. Also, the song "There Are Worse Things I
Could Do" in Grease is able to betray the emotional depth of the character Rizzo's fear, shame, and
anger. At the time this film came out, topics such as teen pregnancy were not generally presented in
films. By having this character sing her issue, the audiences, who may have dismissed her outright
for her actions, are able to sympathize with her plight. Moreover, in Rent, the song "I'll Cover You"
by Angel and Collins allow the viewer to get caught up in this young couple's relationship without
having to worry or even consider that this is a gay couple.

Comparison Of Minnelli And Jacques Demy's Les Demoiselles...
Jacques Demy's Les Demoiselles de Rochefort is a whirlwind of color, light, joy, design, and music.
It's a visual tour–de–force, a treat for the eyes. It's also similar, in many respects, to the work of
Vincente Minnelli. Minnelli, especially with his musicals, carefully designed every little detail. For
him, the mise–en–scene was paramount, so much so that character development would be expressed
through the scenery. For example, Gene Kelly literally brings color wherever he goes in American
in Paris. In Minnelli's world, the worst thing a character can do is bring ugliness. Beauty was key.
But that's not to say that Minnelli's films were light and fluffy. Even his airier films, like The Pirate,
had tonal complexity. Demy's musical world is also highly stylized and designed. Everything looks
extremely artificial and character joy matches their outfits. But it's not completely the same to
Minnelli's world. For one, this musical is very happy. Cares and worries are taken away through
musical numbers. Characters have a formal idea of the perfect man or woman. But Demy still
manages to achieve tonal complexity, just in a slightly weirder way. Compare Rochefort to
American in Paris. Both films are stunningly beautiful. American in Paris' plot is very light,
allowing the relationship between Gene Kelly and Leslie Caron to be explored. The plot's also kept
light to make room for the extended "ballet" sequence at the end. However, compared to Rochefort,
the plot of American in

Indigenous Musical Practices Begin To Appear In Film Music
Anna Luo
MUS Z315 Music for Film
Reading Assignment 2
1. How did various "indigenous" musical practices begin to appear in film music worldwide? What
were some of the issues that may have led theaters to choose Western vs. non–Western music?
I think it is a nature to use local music in local film productions, especially for those films that are
highly related to the local cultures and traditions. Therefore, in my opinion, it is quite a nature move
to add indigenous musical works in films. Also, back into that time, technologies were not advanced
as today, so there were not many chances for film makers to experience different cultural musical
works and they might not have access of using other cultural musical works; thus, by using
indigenous ... Show more content on Helpwriting.net ...
From my understanding, if the music is the first time appear in film, then based on Kalinak's
definition, it will be original score; however, if it has already been used in other films, then it is
definitely not original scores. Some music we may have heard before, but if they never used in film
before, and the compilation of those music is the first time appearing in this specific film, then they
also consider to be original scores. Therefore, "original scores" include compositions that are
created for the specific film, and any other compilations of music that have not yet been used in any
other films. Anything else is excluded from this category based on my point of view of
understanding Kalinak's

Analysis Of The Film ' Backstage Musical '
Loc Truong
Professor: Dr. Avy Valladares
Part One
1. Absolute films: "A particular type of Non Narrative avant–garde films are the Absolute films,
which are completely abstract films", the films that is nonrepresentational, using form and design to
produce its effect and often describable as visual music.
2. Sequence shot: Sequence shot is basically amounting to one long shot that extends for an entire
scene or sequence. It is just one shot with what the camera can gather, without any later editing. And
so, it allows time and space to express itself, help the viewers to get meaning behind them.
3. Backstage musical: A backstage musical is a genre of music devote to the inner workings of a
production, it supports the production of a play or musical revue. The songs performed in this
context are considered diegetic numbers in that they occur literally in the plot, though they do not
necessarily move the story forward.
4. Diegetic sound: Diegetic sound is a sound that is visible or implied in the film, or in other words,
it is any sounds that present in the film's world. It can be the voice of the actors speaking to each
other, sounds come from the object on the screen, or music that comes from a sound system or
orchestra. Also, Diegetic sound is known as actual or literal sound. Besides, diegetic sound can be
either on screen or off screen base on its source within the frame or outside the frame.
5. Cross–cutting: Cross–cutting is the jump back and forth between two or

Glee Essay
Topic 2.
'There is nothing ironic about show choir!' – Rachel Cohen
Is Rachel's assessment of the musical performances on Glee correct? Discuss the interplay of
melodrama, irony and intertextuality in Glee. Your essay should contain detailed analysis of at least
two scenes from Glee's 1st season. Your essay should also make reference to your core course
readings on television and postmodernism.
Due 14 September their true voice; and this one was, to me, ultimately about the series
demonstrating its own voice and its space within the world of contemporary musicals. I don't know
what exactly I expected when I heard Joss Whedon would be directing, although it did send me
diving for my Buffy The Vampire Slayer sing–along DVD. What I ... Show more content on
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Contemporary musicals have become increasingly mature, cynical, parodic and subversive, trends
that Glee falls squarely within. In an episode so drenched in references to the contemporary musical
context, it was all the more important that Glee followed the examples of its characters in the last
episode and emphasized its own unique voice. Whedon showed himself to be a true Gleek by
emphasizing the voice of the show over his own. egardless of whether you are a Gleek (if you don't
know this term, read on), you may have noticed the buzz surrounding FOX's musical comedy, which
returned Tuesday to the second–best ratings of the night after a "Gleek Week" of promotional
appearances and news coverage. Created by Ian Brennan, Brad Falchuk, and Ryan Murphy, Glee
focuses on a diverse group of teenagers participating in a high school show choir, treating the
participants in "New Directions" with alternating doses of warmth and snark. It also is one of the
first series in the last few decades to successfully incorporate musical numbers; its music has
become a lucrative cross–promotional element of the Glee phenomenon.
The series has garnered ardent fans, or Gleeks, around the world – evident in the many websites
dedicated to it, such as Gleeks United, Glee Club Online, Forum Français de Glee, Glee Brazil, and

Effective Use Of Musical Sequences In Viva Las Vegas
A genre of film that quickly rose to popularity during the 1960's was the musical. These movies
most noticeably included singing and dancing sequences which could be used for the benefit of the
picture. Whether the director and producers used these for the plot, characters, or for no reason at all
was up to them. A musical produced in 1964, Viva Las Vegas, directed by George Sidney, was very
successful upon release and is viewed as a classic and perfect example of the musical today. It's the
epitome of a good musical because of how it's musical sequences develop the storyline & characters
and how they are performed by the characters, such as Elvis Presley, in the picture. Because it is
incorporated into the film so much, musical sequences are the most important part in the genre
because of their ability to advance the plot and characters. Viva Las Vegas manages to do both in the
sequences by showing the chemistry between the two main characters, Lucky and Rusty. They show
real love for eachother during the dancing and the singing also progresses the story by giving clues
to the audience. In the sequence "Come on Everybody" Lucky sings about his love for Rusty and
starts to develop his character by showing the attraction between the two characters. The beneficial
incorporation of musical sequences in ... Show more content on Helpwriting.net ...
The movie has a heavy use of dialogue between the characters which reinforce them and highlights
their relationship. In one scene, Rusty and Lucky sit under a tree and talk about their desires, which
ultimately leads to an argument that creates a problem for Lucky, developing him as a character.
Rusty also talks a lot during the film which gives her a rich backstory and a clear understanding of
her instead of using her physical attributes. Because of the exclusion of use of stereotypes, the film
receives better characters with more substance to

Paradoxic Realism In Jacques Demy's The Umbrellas Of...
The paradoxic realism that defines Jacques Demy's film The Umbrellas of Cherbourg is evident
even in the title sequence. Pastel umbrellas dance over the cold gray sidewalk, falling in and out of
perfect symmetry. People walk to work, to school, no doubt grumbling that they are caught in the
rain. Life goes on, but a mundanity of life suddenly becomes worthy of Michael Legrand's sweeping
orchestrations. In contrast, Hollywood musicals made it their job, their purpose to make people
forget that the rain was there at all; to provide an idealistic escape from a harsh, weary world.
Eventually, these addictive fantasy worlds and conventional narratives about love and the human
experience became uninteresting–war, counterculture, and a growing desire for revolutionary art
turned audiences away from such fuzzy comforts and towards radical cinema. The genre needed
something new to shock it back to life, and this shock came in striking form with The Umbrellas of
Cherbourg. By subverting classical Hollywood conventions by way of an unresolved ending, sung–
through musical style, and taboo subject matter, Demy's The Umbrellas of Cherbourg provided an
escape from the never–ending formulaic cycle of musical films threatening to bulldoze the genre
into delirious self–obsession, giving life to the form of musicals and restoring them to what they
have always had the capacity to do: reveal the most vulnerable, intimate truths of what it is to be a
human being, to fall in love, and to fall out

Analysis of Singin in the Rain Essay
Released in 1951, Singin in the Rain was one of the last films to be produced during the profitable
golden age of the studio system. It evokes the typical characteristics of the popular MGM
Hollywood musical by relying on superstar names and infectious dance numbers. However, Singin
in the Rain incorporates an additional level of parody into its nostalgic plot that focuses on the
disruptive shift from silent movies to "talkies." The film showcases classical Hollywood musical
numbers supplemented by affectionate satire. The music of the film reflects each inherent level and
in doing so becomes an identifiable character. It helps to add irony to the plot as well as comedic
support. Singin in the Rain "glorifies American entertainment" while ... Show more content on
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The idea of words and sounds being "out–of–sync" with the actual movie images is a central theme
to Singin in the Rain particularly with Lena's deception. The "movie within a movie" plot of Singin
in the Rain allows the movie to get away with separate full–scale production numbers as well as in
scene numbers. Although the latter is supposed to be spontaneous, all the musical numbers
incorporate the typical Hollywood musical ploys. As Feuer points out in "The History of the
Hollywood Musical: Innovation as Conservation", "Singin in the Rain demystifies silent movies,
serious theater and early talkies while glorifying musical comedy." The characters perform perfected
choreography while accompanied by either an orchestra full of strings for the romantic sequences or
playful horns for the comedic sequences. The "Broadway Melody" number in particular seems to
exhibit numerous musical clichés both in film and theater. There is a large flashy set, hundreds of
dancers, and various musical genres presented. First, the music is high paced and hectic during the
urban part of the scene as Don walks through the city. Second a jazz rhythm is played during the
beginning of the bar scene. During the later part of the bar scene, Don engages in a sexual dance
with an exotic looking woman dressed in green. The music transitions to a slinky and sensual
melody with trumpets and soft drums. As with many other movies such as The Three Caballeros, the
exotic

Choreographer Busby Berkeley’s Contributions to Film...
Choreographer Busby Berkeley's Contributions to Film
Berkeley's creations were not meant to focus on dance. He envisioned an overall moving pattern,
which he created by using moving bodies. He made the art of choreography a technique of design
and visual mathematics, and combined this with his knowledge of film to bring his vision to life on
the big screen. The skill of this multi–talented man brought Hollywood musicals to their full
potential, creating a high demand for dance in films.
William Berkeley Enos was born November 29, 1895, in Los Angeles. He began his career as a
choreographer in 1918 as a lieutenant in the army. Conducting and directing parades. He gained the
ability to work with large masses of moving bodies to ... Show more content on Helpwriting.net ...
His camera was said to have done the dancing. It was not the individual dancers, but his quick
editing cuts, multiple angles and shots, and special effects that created the brilliant movement.
Possibly Berkeley's most memorable filming technique is his use of overhead angles. He even
would drill holes in the ceilings of the studios so that he could make these shots possible. That is
how he created his kaleidoscopic patterns that he was well known for.
One of Berkeley's greatest displays of choreography is the production of 42nd Street. With the
popularity of musical films decreasing around 1932, Warner Brothers decided they needed a real
spectacle to save the genre. They brought in Busby Berkeley to create it. It was a smash hit, and so
Berkeley was given an impressive seven year contract. Between 1933 to 1937, Berkeley created the
dance sequences for almost every successful musical Warner Bros. released.
Some of his most well known productions were Footlight Parade(1933), Dames(1934), his
extravagant use of 150 dancers in "Lullaby of Broadway" in the film Gold Diggers of 1935, Babes
in Arms(1939), and his last film Take Me Out to the Ballgame(1949).
The life of this genius came to a sad ending. Throughout his life, Berkeley drank a lot. He also loved
his mother more dearly than anyone else in the world. The combination of these loves almost drove
him to insanity. After an accident caused by his drunk driving that resulted in the death of

Villain Support Group Essay
WHAT WERE YOUR IDEAS AND WHAT SOURCES PROMPTED THEM?
Within my group, many ideas were shared. Our first idea for our pre–existing piece was sparked
from a concept from the movie 'Wreck–It Ralph' in which a villain is the protagonist, who learns to
accept who he is by the conclusion of the story. This inspired our idea of a 'Villain support group' to
be the main concept of our story. This then developed into a 'Side character support group', and the
discussion of which characters would be included in either side. Ultimately, this was as far as this
idea got and was scrapped when a future, more relevant idea came along. I felt as though this idea
would be great for a short scene in the show, but was not elaborate enough to create a 10–20 ...
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WHAT SOURCES DID YOU RESEARCH TO HELP WITH YOUR IDEA?
To aid our idea of a high school theatre audition, I researched movies and shows that contained
similar concepts. For example, the audition scene in the Pitch Perfect movie was ideal in sculpting
our idea of a collective audition which would represent the individual auditions of those in the
room. Each student that would audition would present the song differently, and therefore, be
portraying how their own characters are, even through a simple 3 minute pop song. Additionally,
since this idea would have been set within a high school, it was relevant to research similar
musicals. For example, Heathers the Musical, Be More Chill, and Spring Awakening are all
musicals set within a high school environment. Bare the Musical stood out to me the most
personally, for the simple fact that within the musical, there are high school characters putting on a
Shakespeare play. The song 'Auditions' would have been a brilliant way to inspire a script for this
idea, if it would have developed into our final idea.
To help with the pre–existing 'villain/sidekick support group' idea, I looked into the most iconic
antagonists and minor characters both within theatre and popular movies and tv shows. For villains,
I looked deeply into characters like Voldemort (Harry Potter), Pennywise the Clown (It), Ghostface
(Scream), etc. For sidekicks, Ron Weasley (Harry Potter), Boq (Wicked), Robin (Batman). To help
even further with this idea, I

Les Miserable Scene Analysis
The scene that I have chosen to apply my learning in this term to, as well as specifically analyze, is
the 2012 Universal and Working Title Films production of the movie–musical Les Misérables,
directed by Tom Hooper. This musical focuses on the lives of several characters in France during the
early 1800's; Jean Valjean is an ex–convict who breaks parole to start a new life, Javert is the chief
of police dedicated to upholding the law, Fantine is a single mother who turns to prostitution as a
way to provide for her child Cosette, and more. The scene I am fixated on details Fantine in the
wake of losing her job and realizing she needs to make money to support her child. This scene is
impactful and striking because of its dealing with the topic of prostitution and unemployment, as
well as being a pivotal part of the film dramatically with live singing and superb acting. The scene is
also a pristine example of multiple film techniques such as close up camera shots, setting, lighting,
actors, singing, and sounds in general. To briefly summarize the scene, I will start with some basic
background information on the main character during this specific time in the film. Fantine is a
single mother who is working at a tailoring house with many other women, until she is thrown out
onto the street. She is thrown out because her fellow female tailors, and male boss (who was a bit
more than friendly) found out Fantine had a daughter and thought she could bring only trouble. Her
daughter

The two decade period beginning in the late 1940s and...
The two decade period beginning in the late 1940s and concluding in the late 1960s represented the
height in popularity for the Hollywood musical. With every major production proving to be box
office gold, the level of critical approval was high establishing the Hollywood musical as a genre.
Born with the coming of sound, the Hollywood movie musical derived from two sources: opera and
operetta, brought over by European emigres, and the American tradition of vaudeville, the
inspiration behind so many "backstage" musicals, the plots of which revolved around putting on a
show. The interesting alliance between dream and reality in the musical gave directors, designers,
and cinematographers the most creative scope within the commercial of ... Show more content on
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Warner Bros was seen as more economical and down to earth because they contrasted the lives of
hard working chorus girls living in cheap apartments with the lavish productions of shows
choreographed by Busby Berkeley in which they appeared. Berkeley created the musical numbers
purely in terms of the one mobile camera, forming kaleidoscopic effects with high overhead shots
from a mobile crane. What distinguished the films that burst forth from MGM in the 1940s and
1950s, mostly under the producer Arthur Freed, was the integration of musical numbers into the
film's narrative. In these features– the best being directed by Charles Walters, George Sidney,
Vincente Minnelli, Stanley Donen and Gene Kelly– song, dance, and music no longer punctuated
the plot but actually worked to advance it. In 1951, Vincente Minnelli triumphed with An American
in Paris, and it became emblematic of the golden era of MGM musicals. An American in Paris traces
the exploits of Jerry Mulligan (Gene Kelly), an aspiring American painter living in Paris, who meets
a wealthy heiress named Milo (Nina Foch). Impressed with his work, she offers to help arrange an
exhibition for him. Although he is filled with displeasure when he realizes that the aggressive Milo,
who has more money than he does, is romantically attracted to him, Jerry, nonetheless, agrees to
accompany her to a jazz club. While entertaining his unwanted admirer

Comedy Makes Us Superior to Absurdity
Tragedy is what comes to us in the perception of absurdity; it is when we recognize it but we hate it.
However, Comedy is the acceptance of absurdity. By examining the works of Much Ado about
Nothing, Dr. Horribles Sing Along Blog, and Candide we can see that only through comedy do we
make ourselves the superiors of absurdity and therefore we need tragedy to keep the balance
between laughter and torment sustainable.
In the version of John Whedons, 'much ado' parts of tragedy are combined with elements of comedy,
which makes this version an acceptable light comedy. A tragedy is when the characters try to solve a
problem that affects everyone in the story and it ends with all the characters uniting in either a
marriage or a party. Much Ado About Nothing is no exception, and Hero's pretending to die of
humiliation by the friar's orders makes tragedy more vividly present here, "Pause awhile, [and] let
my counsel sway you in this case. Your daughter here the princes left for dead: Let her awhile be
secretly kept in, And publish it that she is dead indeed; Maintain a mourning ostentation And on
your family's old monument Hang mournful epitaphs and do all rites That appertain unto a burial."
(Act IV Scene II). Much Ado about Nothing, creates a very strong sense of anger, betrayal, hatred,
grief, and despair among the main characters. Therefore, Shakespeare's usage of comedic techniques
like classic wit, falling in love, and robust hilarity are a must in order to tip the scale in

The Musical Theatre And Film
Music Theatre
1. What is the background of this art form? (where does it originate from? What important political,
cultural and/or environmental things were occurring in this part of the world that would affected the
creation of this art form?)
Musical Theatre is a form of theater combing music, songs, and spoken dialog, which can be traced
back to the theatre of ancient Greece. The music and dance were included in stage comedies and
tragedies during the 5th century BCE. However, the music is disappeared in these eras for a long
time, so that they had no real influence on the development of modern musical theatre and film.
There is no serious effect of a musical theatre over the society and political. However, it The Pacific
Standard said that Musicals have the Power to Change Minds. Although Broadway musicals are
often thought of as lightweight entertainment, many of the greatest shows incorporate serious
themes and challenge audience members' assumptions. American Psychological Association
published research provides evidence that will warm the hearts of cockeyed optimists. " Audience
members' reports of emotional engagement and insight were significantly related to hunting attitude
change. Participants who had complex emotional reactions to score higher on multiple engagement
measure. Although previous research has found a link between strength of audience emotional
involvement and personal efficacy, present results suggest an important additional role for
complexity

Kiss Me Kate Play Analysis
March of 2017 brought snow, rain showers, and a great musical to Hillsdale College's campus. This
semester, the Hillsdale College theatre department performed a magnificent rendition of the classic
1950's play, Kiss Me Kate. Thanks to my core class's requirements, I was blessed with the golden
opportunity to see a marvelous musical that brought me much joy. What is interesting about Kiss
Me Kate is that is a very complex play. In fact, there are two striking aspects of the play that stand
out. First, the play can be described as a play within a play. Indeed, Kiss Me Kate is both a story
about struggling actors putting on a show with the threat of Chicago–eques gangsters looming over
their performance and a rendition of one of William Shakespeare's ... Show more content on
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Many critics, cynics, and general attention–seekers have attempted to claim that Kiss Me Kate is an
endorsement of domestic violence, spousal abuse, and shoddy morals. Before attending the
performance, I was told by a close female friend that Kiss Me Kate was notably anti–woman. After
watching the performance, I have to say that her comment was most undoubtedly fake news. Those
concerned with such elements should be delighted to hear that those "naughty parts" aren't so
naughty nor are they the more critical aspects of the play. Also, one must realize that even though
we are leaving in 2017, the play was popular in the 1950's and was based off of a really old
Shakespearian play. Naturally then, the behaviors exhibited by the characters might irk us. The
characters represent ideals and beliefs from an age different than ours. Regardless of the morality
presented, this difference in periods will lead to discomfort and confusion as, news flash, things
change over

The Rain, Co Directed By Star Gene Kelly And Stanley Donen
Singng in The Rain, co–directed by star Gene Kelly and Stanley Donen, is based in the late 1920s
telling the story of the period in film history during the transition to sound movies. The main
character, Don Lockwood, tells his story in his search for fame with his best friend, Cosmo Brown.
In finding fame, popularity and fortune, Don literally has it all, except for a wife or girlfriend. Until
on day, upon escaping his many female fans, he jumps into, Kathy Selden's car, where she thinks he
is a thief, and threatens that she'll call the police. This centre point shows the initial focus of Don
Lockwood, all he searched for was a rise to fame, and even on the way he never found 'The One'.
His search for love, although wasn 't on the forefront of his mind, even though Don was adored by
millions of fans, he longed for a love to call his own, which is shown in the first scene where Don
sings about fame, but hints during his song about wanting "someone to call his own". This ultimate
search is one that takes the audience one a roller coaster ride. What makes this film such an
entertaining classic film is its astounding integration of comedy and music.
The choreography in this film is very well known and it still precedes itself today through its dance
numbers, tiresome tap dancing and a range of vocals. There are many different conventions and
dance segments to see during this fantastic film. One of the more romantic dance sequence, 'You
Were Meant For Me', shows the shyness in

The Musical Segments Of The Film ' Snow White And The...
There have been many animated movies that were very popular during the 1940's and 50's. Some
are still watched and have been recreated in today's times: Snow White and the Seven Dwarfs,
Pinocchio, and Dumbo. Although not the first animated movie to be created, Fantasia (1940) was
the first movie to connect classical music with animations. Directed by James Algar and released in
1940, this movie was the first of its kind, using classical music and creating scenes with animations
around that music or vice versa. This movie contains eight musical segments all narrated by Deems
Taylor with different music and animations like Mickey Mouse, fairies, flowers, dinosaurs, figures
from mythology, animals, and spirits for each of the scenes. As ... Show more content on
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After falling asleep, the brooms had the room overflowed with water and Mickey could not find or
remember how to make them stop. "As a matter of fact, in this case the story came first...and the
composer wrote the music to go with it." (Grant). In contrast to what Joe Grant wrote, none of the
other segments in Fantasia had the music created for the animation, the music was there first and
then created the animations based off of the music. Throughout the creation of this film, there were
over 700 animators that worked closely with director, James Algar to make sure every detail of the
animations were perfect. These animations were extraordinarily precise as objects came to life or
moved on the exact beats going along with the music. It simply takes the audience into a magical
world of what is going on throughout the segments whether it be with spirits or dinosaurs. Starting
out as a failure after being released and barely making any money, this movie is one of a kind as it
rose to fame and reached its peak as the 22nd most grossing film. Fantasia was the result of many
great relationships and collaborations in the Disney film industry, between the animators,
composers, musicians, producers, and directors. "Fantasia was the first commercial film shown

Moulin Rouge Analysis
Additionally, the film is a love song to spectacle, to all forms of spectacle, including cabaret, opera,
musical comedy, dance, to theater, and, of course, film. As Stuckey points out, "the cabaret acts,
especially the (in)famous can–can, but also the drama 'Spectacular Spectacular', provide frenetic
musical numbers for Moulin Rouge! that serve to amaze the audience." The can–can dance is a
flurry of legs and petticoats thrown up in the air, edited with a fast pace to convey the excitement
Christian is feeling when he enters the Moulin Rouge. These elements successfully elicit the
filmmaker's desired emotion within me. When Satine first appears in the film during her burlesque
routine, the crowd is in awe, staring up at her like she is an angel coming down from heaven. When
she performs in the Moulin Rouge, the crowd instantly recognizes her and cheers. Their reactions
give the film's audience an idea of how to feel about Satine and how to react when we see her come
onscreen. As the audience cheers, I too found myself wanting to cheer for her. Therefore, I feel I
enjoyed these scenes as the movie literally queued how I should respond. I feel these well placed
queues heighten my enjoyment, especially during the ensemble numbers and the comedic scenes.
On the topic of spectacle, the film appeals to me due to the how it conforms to the musical genre.
Throughout their history, musicals are most often conceived as "pure entertainment." Furthermore,
according to Richard Dyer in

Dancer in the Dark Film Review Essay
If I was to reduce my description of "Dancer in the dark" to one word, it would be daring. Its
immediate effect on me was stronger than that of maybe any other film I've ever seen. It shook me,
stirred my emotions, made me think and reflect, it disturbed me in the most positive sense of the
word and it still does. Its radical make, boldness and consistency exceeds all expectations and
probably everything that's come before. This is the perfect example of a director's vision
uncompromisingly realized.
To be fair, I have to say that "Dancer in the dark" is one of those films that people either deeply
admire and love or hate and find ridiculous. If you belong to the latter category, nothing I write will
make you rethink your opinion, due ... Show more content on Helpwriting.net ...
Selma, however, harbours a dark secret. She is afflicted with a hereditary blinding disease that eats
away at her sight as she grows older. She works horrendous hours of every day and night to save up
to pay for an operation that will give her son the chance of a life free of blindness. Selma is saved
from the crushing sadness of her existence by music. Music she hears on the factory floor, the
passing train, echoed footfalls, the air shaft in the wall. Every time she hears or feels a beat she
imagines herself breaking into a spontaneous song and dance routine like she had seen so many
times in her childhood. Any rhythmic sound source is likely to elevate her to the world of musicals.
Sounds of her surroundings are the bass line to an extravagant musical fantasy world, this not only
allows her to break away from the horrors of the situations she finds herself in, but also allows Von
Trier to briefly break away from the confines of his Dogma. As the movie progresses we get to
witness her life crumbling and falling apart around her.
There are many aspects about "Dancer in the Dark" that make it stand out so distinctly. Relating to
the songs, the first phrase that came to my mind after seeing the film was: a musical for people who
dislike musicals. The whole mood and depressing atmosphere formed a contrast to what we think of
when we hear "musical." In addition, the songs were not embedded "realistically" in the film (that's

The Cyclical Teen Musical Film
The Cyclical Teen Musical Film Considered by Jane Feuer to be "the only form of musical that
retains widespread popularity" (123), the teen musical film is a cyclical sub–genre of the musical
film that keeps coming back again and again since the 1960s, proving that it is a sub–genre here to
stay. And since this is a cyclical sub–genre, its historical development is also cyclical in matter: it
develops slightly throughout the cycle, as per many other film genres, but always seems to return
back to its original narrative structure and conventions, even through the stylistic and sociocultural
changes throughout the decades. Each time the teen musical film has come back into mainstream
popularity, the films are always characterized by their dual–focus structure – primarily a male–
female main character pairing – and the two thematic elements typical of youth films, as described
by Timothy Shary: the growing up theme, and a conformity/rebellion binary. The only changes are
caused by sociocultural means, including, but not limited to, the Rock n' Roll musicals of the 70's,
the Punk musicals beginning in the late 70's, and the female–centered narratives of the 80s. Ever
since the introduction of sound in the late 1920s and 1930s, the film musical has been a prominent
genre. However, up until the end of the "Golden Age" of the film musical, the majority of these
musical films produced were geared towards an adult audience to help raise morale during the
depression, World War I, and

The Satigre Of Chicago : Propulation And Motire In Chicago
Chicago is a satire on corruption, manipulation, the media and the concept of the "celebrity
criminal". Choose one or more of these ideas to discuss, making reference to key scenes and lyrics.
Chicago is an American musical which has been running for 42 years, making it the second longest
running Broadway show of all time. Chicago is set in the fast paced, glamorous era of the 1920's,
and follows the story of Roxie Hart, a young woman whose life–long dream is to be a star, but finds
herself imprisoned in a women's jail after murdering her lover Fred Casely when she discovers his
claims of being able to "make her showbiz career take off" were lies. She reaches out to Billie
Flynn, a sleazy but successful lawyer, and he turns her into a loveable public figure in order to win
her case. Chicago is a satire on the medias fixation with celebrities and criminals, and how easy it is
for the media to become manipulated into believing fabricated stories. The idea of the ever–
changing focus of the media, or "15 minutes of fame" is demonstrated multiple times throughout the
show. The focus of the media never seems to sit still, one week a person can be on the headline of
every newspaper, and then forgotten about the next week as soon as someone newer and more
exciting comes along. Chicago emphasizes this idea of '15 minutes of fame' through some key
scenes throughout the show. At the beginning, Roxie Hart idolizes Velma Kelly and the obsessive
spell she seems to hold on the media.

Review of the Movie Rob Marshall´s Chicago Essay
Chicago Review Rob Marshall's Chicago is an adaptation of Maurine Watkins 1926 musical of the
same name. The story took place in the roaring 20's based on the concept of femme fatale and
commercialized criminals. The plot of the movie revolves around ambition and the fickle nature of
fame, and breaks the boundaries of stereotypical musicals in its unique theatricality and stagecraft.
The success in the cinematic, theatrical, and editing elements aid in the creation of wonderful movie
that is Chicago. To analyze a film requires the understanding of the setting, characters, and plot. The
setting of the movie is in Chicago, hence the name of the film, during the 1920's era where flappers
and burlesque were becoming increasingly popular. ... Show more content on Helpwriting.net ...
The film consisted of various streams of changing shots. As the set was in Chicago, the costumes
designed took that setting into account to create realistic clothing for the characters portraying
people of the 1920's. The utilization of the many costumes of the actors allowed them to transform
their characters during shooting. The characters in the movie stood out because a reflection of their
attitude and emotion was shown in their costume and makeup. The lighting and sound of this movie
also accentuated the acting, as well. With the loud, attention–grabbing music during Velma Kelly's
performances to the soft, innocent performances of Ms. Roxie Hart. During Velma's performances,
there was a lot of dramatic lighting giving the allusion of a spotlight at all times, however, during
Roxie's performances, there was a less dramatic tone to them. The elements of theatrics used in this
film illustrated the story's burlesque style performances to its highest potential. The editing of
Chicago uniquely set this film apart from other films of the musical genre. The characters never
stopped their actions to break into song as many other musicals do, the musical numbers used in
Chicago are generally the daydreams or the backstory for a specific character. This film utilizes
editing by creating the illusion of the expansion and compression of time. This is created by
expending flash cuts, which are short machine–gun bursts of images crammed together to

Difference Between Musical Theatre And Film Musicals
A musical film is a genre of movie where songs sung by characters are added into the storyline,
occasionally complemented by choreography. The musical numbers in these films do not always
develop the plot and characters, but they do give the films a more exciting quality. The primary
difference between musical theatre and film musicals is the use of extravagant scenery that would be
extraordinarily unreasonable for a stage performance. While making movies, the individuals
involved have the luxury of being able to shoot multiple takes and have the time to move
backgrounds around or change their entire location. Stage performances, on the other hand, must
have scenery that can be easily and efficiently moved on and offstage when it is needed. In order to
be able to thoroughly comprehend this relatively recent– in the grand scheme of things– form of
entertainment, one should understand the history behind these musical films, be aware of some of
the "big names" that are well–known, and recognize major titles that revolutionized musical film
forever (Scaruffi, P., 2005).
Before being able to completely appreciate musical films, one must be aware of their remarkable
history and how they came into existence. According to an article written by Cara Schreffler:
Since the days of the ancient Greeks, music has been an integral part of drama and theatre. Many
composers wrote music to accompany plays, and sometimes the music became more well–known
than the play it was written for ... It

High School Musical : The Film Review : High School Musical
I remember when I first watched High School Musical the movie. I knew all the words and
choreography to every song and dance they showed during the movie. As a kid, I was excited to go
to high school because of the movies I've seen about it, high school musical in particular; and they
made it look awesome. However, when I got to high school it was nothing like the movies. High
School Musical with a plot similar to a modern Romeo and Juliet, is a teen comedy starring two
students from opposite social groups who eventually fall in love. Troy Bolton who is played by Zac
Efron, is the captain of the basketball team and is known as the definition of "cool" at East High
School. While Gabriella Montez played by Vanessa Hudgens, is a transfer student who is in love
with mathematics and science, is trying to figure out where she fits in at East High School. It's New
Year's Eve, and Troy and Gabriella, who don't know each other yet, are at a ski resort spending their
Christmas break with their families. They were both blackmailed into going to a teen party the resort
was hosting by their mothers. During the party, two lucky individuals are called on the stage to
perform a karaoke duet together. Of course, the two individuals were Troy and Gabriella. They sang
"Start of Something New" and at first, they were both apprehensive, but eventually started singing
gracefully as the crowd was cheering them on. Once they finished, they met outside and start talking
and ended up exchanging

The Musical Essay
The Musical The classical period of the musical coincided with the heyday of the Hollywood
studios from the early thirties to the early fifties. The conventions of the integrated musical were
formed in the Astaire––Rogers musicals made at RKO in the thirties and the form peaked at MGM
in the forties and early fifties, most notably in films produced by Arthur Freed.
Thomas Schatz has provided a useful definition of the integrated musical. `Rather than create a
realistic ––or at least plausible ––world whose inhabitants find reasonable motives for breaking into
song (rehearsals, shows, etc.) the music itself seems to determine the attitudes, values and
demeanour of the principal characters. As the musical genre evolved it ... Show more content on
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Each package is made up of either two or three VHS videocassettes and notes which contextualise
the packages within the genre and place them in relation to other musicals in the Film Study
Collection on film. The notes also provide specific suggestions for the use of extracts from the films
on videocassette.
Films on both VHS and 16mm are organised below into three sub–genres (fairytale, show and folk)
proposed by Rick Altman. Not all musicals fall neatly within boundaries of one of these sub–genres.
It's Always Fair Weather, for example, as a whole operates as an urban folk musical but the satire of
television in the last third of the film draws it towards the show musical. Although Altman locates
Ziegfield Follies in the fairytale sub–genre it seems marginally placed between the fairytale and
show musical. Ostensibly a tribute to the Follies it lacks any unifying narrative. Although the
introductory numbers ––`Bring on the Beautiful Girls' and `Bring on the Wonderful Men' ––display
sexual desire as a motive force, this is not consistently maintained through the series of musical
numbers and comedy sketches that follow. The Fairytale Musical
This sub–genreborrowed massively from a long (pre–cinema) tradition of European and American
operettas. Methods are a combination of those used by the fairytale and the romantic comedy. In the
early sound years (1929––1934) the sexual energy driving the plot is clearly

The History Of Musicals On Stage Is Broad And Extensive.There
The history of musicals on stage is broad and extensive. There are many different histories of stage
musicals: French operettas, Grecian plays, and Roman comedies are just a few. However, I am
going to focus on American musicals. The musical that many Americans are familiar with has its
roots in the French and Viennese operettas of the 1800s, but take their comic style from American
Variety and Minstrel Shows, which led to Vaudeville and Burlesque shows. Known to be the first
American musical, "The Black Crook", produced in 1866, proved how profitable the musical theater
could be in the United States. After that the American musical really burst forth, with full–length
burlesque shows and British imports of musicals, like ... Show more content on Helpwriting.net ...
The movie "Singing in the Rain" (1952) even offered a lighthearted depiction of Hollywood in the
late 1920s where the focus was on the transition from silent films to "talkies". From the beginning,
audiences embraced screen musicals with tremendous enthusiasm, with "The Jazz Singer" (1927)
bringing in a slew of newcomer audiences as well as the usual stage musical goers. Even though the
stock market crash of 1929 caused almost a third of movies theaters in the U.S. to shut down, the
industry survived (but barely), because the public would use the few pennies they had to go see a
film that would make them forget the Depression for an hour and a half. Because of this, film
musicals attempted to provide happy and uplifting types of musicals, but they were not extremely
successful. Fast forward to 1933, when the Warner Bros. Studios gave audiences dance–infused
musicals, including "Forty–Second Street", where Busby Berkeley took his reputation and
experience as a dance director for several Broadway shows and helped rebuild film musicals'
rapport. Due to the fact that, in the 1940s, America was fully focused on World War II in one way or
another, "Yankee Doodle Dandy" was produced in 1942 by Warner Bros. Studios, and was a musical
biography of George M. Cohan, "The Man Who Owned Broadway". This musical highlighted the
American patriotism and values that many

Grease Essay
"Grease" is the word when it comes to my favorite musical past–time. But the question is, what was
it about the rock and roll era in the 50s that influenced the writers of this stage musical turned
movie? Also, how did this type of film affect the popular culture of the past and of today? That is
the basis of this paper .
Grease began as a five–hour long amateur show presented in a Chicago trolley barn in the summer
of 1971 and eventually made Broadway. The film version of "Grease" began almost immediately. It
debuted in 1978, becoming the biggest grossing movie musical in film history. Its eight–year run
made Broadway history and put it among today's most popular musicals.
Jim Jacobs and Warren Casey wrote the book, music and ... Show more content on Helpwriting.net
...
The music's solid rhythm and heavy back beat inspired new forms of dancing that exist today. Far
beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes and language.
So the big question is what makes the "Grease" phenomenon continue? One thing that has made it
go down in history is the music behind it. Some songs were added to film version that were not in
the stage version to reflect the feel of the 50's in songs suited to the disco era. "You're the One That I
Want", "Grease", and "Hopelessly Devoted to You" were all composed for the 1978 film. The music
has captivated a variety of generations for so many years. Today the music plays at dances, karaoke
bars and on the radios across the country, and winds up in almost everyone's music collection at
some point during their lives. Every time I hear a song from the movie, it's impossible for me not to
sing or hum along, and I know I'm not alone. The young kids, especially those five to twelve years
old have heard about "Grease" from their older siblings, have made it their own favorite.
Another reason youth enjoy "Grease" is it deals with events and issues encountered in high school.
In fact, the whole movie revolves around the typical high school experience. For instance, the movie
opens with the excitement of the first day of school and Rizzo of the Pink Ladies says that seniors
rule the school. Isn't that the

Analysis Of Singing And Dancing On The Big Screen
Singing and Dancing on the Big Screen "La la land" is a nickname for Los Angeles that has almost a
demeaning nature; implying that LA is a place that is stuck in the clouds; distant from the world
outside. La La Land (Damien Chazelle, 2016) uses this nickname as the title suggesting the movie
will portray Los Angles in this dream like idea. This musical presents two characters struggling to
work towards their dreams in this city and instead romanticizes the nickname for the city. Damien
Chazelle crafts a dreamy love story with a genre that has almost been absent from Hollywood. La
La Land presents itself as being nostalgic for the old classical Hollywood musicals while also
modernizing the idea of a movie musical for today's audience. Throughout the film all these
different things that seem to be nostalgic for classical musicals like Singing in the Rain (Donen,
Kelly, 1952). Chazelle is clearly influenced by the film from set design to certain scenes to the
relationship of the main characters. Gene Kelly and Debbie Reynolds' characters, Don and Kathy,
first meet when he jumps in her car, and then meet again when she is performing at a party he is at.
They don't like each other when they first meet, and she tries convincing him that she is a serious
performer. This is extremely similar to the storyline of Ryan Gosling and Emma Stone's characters,
Sebastian and Mia, and how they met. They first saw each other in their own cars on the freeway
where Sebastian honked at her

Comparing Musicals In La La Land And Singing In The Rain
Musicals are a very unique type of genre intended to give off good vibe, happiness and joy to the
audience and to anyone who watches them. Countless amount of musicals have been created since
their first introduction, but the one piece of film that really stands out was a classic called Singing in
the Rain (1952) directed by Gene Kelly and Stanley Donen, and has been considered one of the
most loved and celebrated film in the history of it's genre. But a lot has changed since the
introduction of this classical movie and in this present generation we have pieces like La La Land
(2016) directed by Damian Chazelle, which has won many recognisable awards, such as "Best
Performance by an Actress in a Leading Role", and "Best Motion Picture of the Year" and many
more. But what makes these two particular films different ... Show more content on Helpwriting.net
...
One of the most noticeable features that you can see from both of these films, was the social context
of gender equality and the form of attention that this plays in the film. In La la land, the two main
characters, Mia, played by Emma Stone, and Sebastian, played by Ryan Gosling, both of opposite
sexes, share equal footing in the role as the main characters in the film. They both share the
spotlight in the making and no character is less as minimum as the other. This, in the current day and
age, is to be expected as gender equality and identification of sexes, play a massive role in the issues
abiding people today, and is acting as a very controversial and sensitive topic that people debate on.
In response to this controversial topic, La la land, has no sign of gender inequality which is very
interesting in it's matter. In a world where male gaze is a massive factor in the films of the past and
still in present, this film has done a very good job to tackle the issues of today. In comparison, the
classical film, SInging in the Rain, also plays a

The North American Musical Film
The North American Musical Film The musical film in the United States is largely associated with
Broadway theatre. Broadway is an area in New York City where the biggest theatres are located,
accommodating at least 500 people. Smaller theatres are said to be located Off–Broadway and even
smaller theatres are called Off–Off–Broadway. Some notable musical films such as Chicago (2002),
My Fair Lady (1964) and West Side Story (1961) were adapted from musical plays and trace their
origins to Broadway where they first started their production. Some Off–Broadway productions also
enjoyed a surge of popularity that warranted their expansion to film such as Rent (2005) and Fame
(1980). Some musical films were adapted from West End productions which is the British
counterpart of Broadway in London. Examples of such films are The Rocky Horror Picture Show
(1975), Oliver! (1968), and Mamma Mia! (2008).
But not all musical films were adapted from the stage. When the musical genre enjoyed its peak of
popularity, Hollywood was churning out original musical compositions. It was hard to resist
adapting iconic compositions like Singin' in the Rain (1952), Meet Me in St. Louis (1944) and 42nd
Street (1933) for the stage. Given all these variations and just the sheer number of films originating
in the United States, it is safe to say that North America has a very rich history of musical films.
The musical film burst into the scene at a time when the United States was undergoing a revolution
of

Film Analysis Of The Film 'SinginIn The Rain'
"Singin' in the Rain" was a film released in 1952, and is a combination of a musical and a romantic
comedy. The film takes on a portrayal of 1920's Hollywood culture that is very easygoing and
cheerful. And as is the situation with most films that are regarded as classics, it originally received
very lukewarm reactions upon its initial release, but as time went on people began to notice and
appreciate its candor. Nowadays it's regarded as the greatest musical film ever made, and one of the
best films ever made period. In this critique I'm going to give my thoughts on the several different
aspects and themes of "Singin' in the Rain," to understand why it is as highly touted as it is. One of
the biggest reasons as to why "Singin' in the Rain" gets as much praise as it does is because
everything about the film is as equally charming as it is entertaining. And one of the biggest reasons
why its quality is so far above other musicals is because it's also able to remember that it's a film,
and not just a musical. These days it's very hard to find a musical film with a good screenplay
because the people behind the film put too much of the focus on the songs and the performances.
But "Singin' in the Rain" is able to make sure that not only is the musical aspect of the film great,
but that the film is also able to tell a genuinely good story. The film's screenplay takes on a story
that's clever and endearing, by showing the complicated and frustrating switch from silent films to
talking films, through the eyes of 3 performers. So in hindsight "Singin' in the Rain" is a musical
about musicals, as well as being a film about films. And that's why "Singin' in the Rain" is more
noteworthy and significant than all other musical films from an artistic standpoint. Obviously the
big talking point when it comes to "Singin' in the Rain" is the music, that's always been the focal
point and the heart of the film's charm. The actual performances within the film are nothing short of
an amazing achievement. A majority of the dance numbers seen in the film are long and are shot in a
complete single–take, which is a bold artistic choice that not only pays off but looks mightily
impressive as well. And although many of the actual songs

Chicago Film Analysis
Chicago is a 2002 musical film directed by Rob Marshall inspired by the Broadway musical of the
same name. Chicago stars Renee Zellweger and Catherine Zeta Jones as two female killers who
both yearn for stardom in the vaudeville circuit during the roaring 20's. Queen Latifah and Richard
Gere play supporting roles as well. The musical numbers combine elements of jazz and vaudeville
to add a great layer of depth. This film was well received and received an Oscar for "Best Picture" at
the 2003 Academy Awards.
Chicago is a musical movie based off of a Broadway musical. As a movie the audience is able to
become more immersed in the story than if they were watching it on a stage. Chicago is often
referred to as the movie that reinvigorated the musical ... Show more content on Helpwriting.net ...
The common image is black and white images with red letter in front of them. The black and white
images are clearly a reference to the roaring twenties setting of the movie. The red text conveys the
edgy and sexy side of the movie. This imagery continues into the film as well. During a lot of the
scenes, especially the musical numbers, we see the characters wear black or red costumes. Some
examples of this include "Cell Block Tango" and "Razzle Dazzle" these numbers specifically show
how sexy and edgy the movie can be. This also fits into the time period as the roaring twenties and
the vaudeville era are considered to be more liberal than preceding decades and then the great
depression era. This film has a very specific image and it uses music, costumes, and the setting to
portray that

Into The Woods Response Essay
Upon walking 'into' Into The Woods one would say the mood was set well. The red curtain in front
of the proscenium stage, the orchestra tuning their instruments, and a peculiar man standing on the
side of the stage. I was prepared for the show, a water bottle and plenty of cough drops to get me
through the 2 and ½ hours. What I was not prepared to see was the obvious struggles they were
having that day with their own cues.
Having worked in show business since I was young, I know opening night is always the night when
things go horribly wrong. I can have sympathy for them but a few of the things that were missed
were outright ridiculous. When the baker was counting out the beans to Jack and they missed the
fourth 'chime' noise, I was surprised. ... Show more content on Helpwriting.net ...
The actors and actresses did well in their assigned rolls and I wish I could congratulate them on
finishing the run. They worked together very well in all of the group musical numbers regardless of
how hard they can be to coordinate at times. If I had to rate this performance of the musical it would
get a 9/10. The acting, singing, costumes and costume changes, scenery and of course, the plot, are
all wonderful and this is a must see. The only thing lacking was the cues and lighting, the use of the
gobos was lacking and there was not as much color change as I would have enjoyed

Musical Films Research Paper
The Evolution of Musical Film
Since the invention of sound in cinema, people have continued to be completely astounded by
musical film. From the earliest synchronized sound films like The Jazz Singer to the fantastic
musicals of today like La La Land and The Greatest Showman, musical films have the extraordinary
ability to bring people joy in the darkest of times. The impact and influence musicals have had and
continue to have on people will live on forever.
In order to fully understand the influence that musical film has in society, it is important to look at
the effect the invention of sound had when it was first introduced in 1924. Before movies had
synchronized sound, theaters were generally equipped with an organ, piano, or even live ... Show
more content on Helpwriting.net ...
In an article by Katie Moritz on rewire.org, she explains how musical film has changed over the
years, going from a booming industry in the 1930s to it's slight fall in the 40s and back up again
today with films like La La Land and The Greatest Showman. Katie believes this "rising and
falling" of musical film has to do with the political climate of different eras. In the article, she says,
" Nancy West, who teaches U.S. film history at the University of Missouri, thinks the move away
from musical film has everything to do with a changing political climate...The genre exploded in the
early 1930s as the U.S. struggled through the Great Depression...You see (musical film) in the 1940s
but I think World War II put a damper on that...(today) the political landscape might also be calling
for a cultural pick–me–up." Musicals always seem to have the ability to lift the spirits of society
whenever they are needed

Film Analysis Of Singing In The Rain

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