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 I got rhythm, I got musicals 
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The thread in which I take you through some of my favorite Hollwood musical numbers (in no particular order) & you pretend to care. Feel free to share your own, discuss, & recommend whenever you see fit. Gene gushing is welcome. etc, etc.

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Thu Nov 25, 2010 1:50 pm
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OMG YAAAY SO GOOOD BRING IT OOOON

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Thu Nov 25, 2010 1:51 pm
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The Hollywood ones are the worst.

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Thu Nov 25, 2010 1:51 pm
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Grease 2 all up in this bitch... :shifty:

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Thu Nov 25, 2010 1:51 pm
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Hollwood in hare.


Thu Nov 25, 2010 1:51 pm
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The Great One wrote:
Grease 2 all up in this bitch... :shifty:


Was that a musical!?

I actually remember watching it but cannot remember any singing or dancing.

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Thu Nov 25, 2010 1:52 pm
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Trevor wrote:
The Hollywood ones are the worst.

You're lucky you have Winona in your av, otherwise you'd be dead.
Also, you may be right but limiting it to Hollywood shortened my list substantially. :oops:

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Thu Nov 25, 2010 1:52 pm
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This is pretty swell and all, but I think I'll go back to watching my Shyamalans for now. kthnx.

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Thu Nov 25, 2010 1:52 pm
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GENEGUSH!

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Thu Nov 25, 2010 1:53 pm
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Trevor wrote:

Was that a musical!?

I actually remember watching it but cannot remember any singing or dancing.

You should be grateful then :D

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- "How's the pie?"
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Thu Nov 25, 2010 1:53 pm
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The Great One wrote:
You should be grateful then :D

Coo-oo-oo-ool rider.

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Thu Nov 25, 2010 1:54 pm
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So, is this over already?

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
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Thu Nov 25, 2010 2:13 pm
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Magic Fister wrote:
So, is this over already?

I'm working on it, stfu.

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Thu Nov 25, 2010 2:16 pm
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getrhythm wrote:
I'm working on it, stfu.


Takes time to find all those videos of Fred Astaire on roller skates, huh?

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
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Thu Nov 25, 2010 2:18 pm
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Magic Fister wrote:

Takes time to find all those videos of Fred Astaire on roller skates, huh?

That's why we have dreiser.

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Thu Nov 25, 2010 2:18 pm
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I Got Rhythm
an american in paris



Because every thread should begin with Gene, right? I mean, right? One of the most charming numbers in musical history, in my opinion, due almost entirely to the his generous presence & provoking chemistry with the children. It's one of the rare instances in which the song doesn't necessarily have to apply with any event taking place within the film, but the spirit of the tune works so perfectly that it's hardly noticeable & even if it were, does it matter?



Mm. Gene butt. You'd never think by looking at Toulouse Lautrec's painting, 'Chocolat', that any human being would have the ability to take the pose so wonderfully, let alone animate it with such brilliant choreography. This is one of the many beauties of An American in Paris & one of the things I find most astounding about Gene Kelly, that he can recreate absolutely anything with his own unique eye while captivating you fully every second he's on screen. Urgh. Be more amazing, will you?

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Thu Nov 25, 2010 2:24 pm
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Foreign musicals!!!! Saura and Demy in the hizzy!!!!


Thu Nov 25, 2010 2:33 pm
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it doesn't matter wrote:
Foreign musicals!!!! Saura and Demy in the hizzy!!!!

But they're not in the 'hizzy' because these are Hollywood musicals, friend. Depending on how this thread turns out though (I'm not expecting much), we'll see if I'll add the foreign ones at the end or make a new thread for them altogether. It was tough to leave out the Renoir, Demy, & Lubitchs.

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Thu Nov 25, 2010 2:38 pm
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getrhythm wrote:
I Got Rhythm
It's one of the rare instances in which the song doesn't necessarily have to apply with any event taking place within the film, but the spirit of the tune works so perfectly that it's hardly noticeable & even if it were, does it matter?


I actually think more often than most people would like, or at least maybe it's just my tastes, that how closely the numbers themselves actually apply to anything textually hardly matters when, like you said, the spirit (or the feeling or it, or general energy or aesthetic) of it is what matters and contributes to the film experience. An American in Paris is like, almost entirely like that :P heh, which is why I love it so much.

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Thu Nov 25, 2010 2:39 pm
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He does have a nice bum.


Thu Nov 25, 2010 2:40 pm
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Notice that there are onlookers in all the numbers before the Red Shoes stuff at the end? They just stop to watch and enjoy Gene and the other two. So the numbers exist diegetically.

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Thu Nov 25, 2010 2:42 pm
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getrhythm wrote:
But they're not in the 'hizzy' because these are Hollywood musicals, friend.


Ok....Go Chicago! Go Moulin Rouge (baz version), go Grease!



i know i have horrible taste in musicals.


Oh and I have seen An American In Paris. That was after my neighbor went on and on about Vincente Minnelli (pretty much every time I saw him) and insisted I start watching his films. I insisted he study Tarantino and The Coen's more closely and we made a pact. Yes. I love this movie.


Thu Nov 25, 2010 2:43 pm
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Moulin Rouge is entirely Australian outside of funding.

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Thu Nov 25, 2010 2:43 pm
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*walks in with jazz hands*


Thu Nov 25, 2010 2:47 pm
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getrhythm wrote:
The thread in which I take you through some of my favorite Hollwood musical numbers

Guess this means my rec's out of the game : /

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Thu Nov 25, 2010 2:48 pm
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Pee in Gene's butt.


Thu Nov 25, 2010 2:49 pm
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Magic Fister wrote:

I actually think more often than most people would like, or at least maybe it's just my tastes, that how closely the numbers themselves actually apply to anything textually hardly matters when, like you said, the spirit (or the feeling or it, or general energy or aesthetic) of it is what matters and contributes to the film experience. An American in Paris is like, almost entirely like that :P heh, which is why I love it so much.

I agree with you to some extent, but my discussion with Gort in the list thread has proven the opposite. Not only Gort, but that's mostly everyone's defense in hating the genre. At least those I've come across. It's understandable if you concern yourself with the plot more than the art, & a lot of people do, which is also fine. But I'm not sure whether or not the numbers have any correlation with the rest of the film actually matters either way. If it works, it works. That's about as far as my insight goes. :P

Trip wrote:
Moulin Rouge is entirely Australian outside of funding.

In my book, that makes it Hollywood. Right? I'm stretching. Let me.

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Thu Nov 25, 2010 2:53 pm
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Smalley wrote:
Guess this means my rec's out of the game : /

Oh, that. :shifty:

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Thu Nov 25, 2010 2:54 pm
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getrhythm wrote:
I agree with you to some extent, but my discussion with Gort in the list thread has proven the opposite. Not only Gort, but that's mostly everyone's defense in hating the genre. At least those I've come across. It's understandable if you concern yourself with the plot more than the art, & a lot of people do, which is also fine. But I'm not sure whether or not the numbers have any correlation with the rest of the film actually matters either way. If it works, it works. That's about as far as my insight goes. :P


In my book, that makes it Hollywood. Right? I'm stretching. Let me.

Was given money by and was released by a Hollywood studio, so sure.

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Thu Nov 25, 2010 2:58 pm
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getrhythm wrote:
I agree with you to some extent, but my discussion with Gort in the list thread has proven the opposite. Not only Gort, but that's mostly everyone's defense in hating the genre. At least those I've come across. It's understandable if you concern yourself with the plot more than the art, & a lot of people do, which is also fine. But I'm not sure whether or not the numbers have any correlation with the rest of the film actually matters either way. If it works, it works. That's about as far as my insight goes. :P


I'm saying I concern myself with the art or the spirit of the numbers more than the plot though, not the other way around.

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I Watch Films, But...
In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Thu Nov 25, 2010 3:00 pm
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getrhythm wrote:
Oh, that. :shifty:

:(

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Thu Nov 25, 2010 3:07 pm
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Puttin' on the Ritz
blue skies



To avoid seeming biased right off the bat, I quite like this Astaire. & to his credit, though somewhat of a side note, I'm a fan of the signature coat tails & top hat. Aw.

Not to mention it makes this best.


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Thu Nov 25, 2010 3:09 pm
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Aw just look, you love Astaire so much. And Wilder.

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
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Thu Nov 25, 2010 3:13 pm
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"PUTTIN ON THE RISSSSH!!!"

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Thu Nov 25, 2010 3:15 pm
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Magic Fister wrote:
Aw just look, you love Astaire so much. And Wilder.

Shh, there's more of him than I'd like there to be. :oops:

wildertho<3

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Thu Nov 25, 2010 3:16 pm
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getrhythm wrote:
Image


The thread in which I take you through some of my favorite Hollwood musical numbers (in no particular order) & you pretend to care. Feel free to share your own, discuss, & recommend whenever you see fit. Gene gushing is welcome. etc, etc.

You go, girl!

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Thu Nov 25, 2010 3:19 pm
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Cyd Charisse was hawt.

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Thu Nov 25, 2010 3:21 pm
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this thread makes me really happy

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Thu Nov 25, 2010 3:22 pm
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There'd better be Fosse.

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Thu Nov 25, 2010 3:23 pm
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getrhythm wrote:
But I'm not sure whether or not the numbers have any correlation with the rest of the film actually matters either way. If it works, it works. That's about as far as my insight goes. :P

That's what I should have said. :D But at least in Fister you have a fellow traveler.

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"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

YTMN's Remake Rematch Thread. Catalog Rounds 1-3
Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)
Images will disappear about 13 Feb 2018 forever.
I had fun. Thanks for reading!

The Future Unreels will also lose all its images on the same day. But just think about how many images Jedi has on Photobucket, and the other posters here.


Thu Nov 25, 2010 3:23 pm
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haaaaaaaaaaaaaate gene wilder haaaaaaaaaaaaaaaaaaaaaate

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Thu Nov 25, 2010 3:25 pm
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Trip wrote:
haaaaaaaaaaaaaate gene wilder haaaaaaaaaaaaaaaaaaaaaate


He reminds me of my dad.

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I Watch Films, But...
In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Thu Nov 25, 2010 3:27 pm
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Magic Fister wrote:

He reminds me of my dad.

haaaaaaaaaaate pfister's daaaaaaaaaaad

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Thu Nov 25, 2010 3:27 pm
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Magic Fister wrote:
There'd better be Fosse.


Bye Bye, Life
all that jazz



This was actually going to be my next anyway. :P
I wish I had more to say besides the obvious - venturing into Gideon's heavenly studio audience makes this bleak ending a pitch perfect hallucinatory musical number. It's so good it almost hurts me.

Also, there's much more Fosse.

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Thu Nov 25, 2010 3:36 pm
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God, that's seriously my favorite. Such a remarkable ending too (to the number and film).

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In a word, I think that, far from favoring directors’ formal inventiveness, widescreen, instead, stifles it. It is, I’m more and more persuaded, if not the only, at least the main culprit for the expressive poverty of the image today. - Eric Rohmer
Vimeo / / / Flickr


Thu Nov 25, 2010 3:43 pm
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Excellent thread idea. Aside from the classics, I haven't seen enough of these.


Thu Nov 25, 2010 3:49 pm
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go ribbon!

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Thu Nov 25, 2010 4:08 pm
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I also love that last one. Don't tell anybody.

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Thu Nov 25, 2010 4:27 pm
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My Baby Just Cares for Me
everyone says i love you
(probably the last for the night)



I simply love how candid this film is. The less than adequate singers make each & every line in every song feel so genuine because they aren't flashy & vibrant with any of them. That is, more or less, what separates Allen's film from mostly all the others - by the statement being established immediately that these are normal people, leading normal lives, the only difference is that they sing, & only when they meant it. The numbers cue when their emotions do, just as would be so if life was a musical, for lack of better comparison, & that emotional/musical connection (for the characters more so than ourselves) is what makes watching this film such a joy.

Plus An American in Paris references.


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Thu Nov 25, 2010 4:37 pm
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That's a Woody I haven't seen.

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Thu Nov 25, 2010 4:40 pm
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