Dick
Senior HTF Member
- Joined
- May 22, 1999
- Messages
- 9,937
- Real Name
- Rick
I have truly liked many musicals since CABARET and ALL THAT JAZZ, but I have a problem with most of them. A really big problem that reduces my appreciation of them to a regrettable degree: The Editing. And notice I said since CABARET and ALL THAT JAZZ. CABARET started something back in 1972. Up until then, we watched song and dance numbers in musicals with few cuts, allowing us to become very engaged with the choreography. Suddenly, editor David Bretherton introduced us to the quick-cut musical numbers, which mostly cut on a beat (but not too many times to become annoying), thus delivering a visual equivilent of the musical rhythm. It was exhilarating. It seemed to enchance the performances. That is because Bretherton was a brilliant editor. Seven years later Alan Heim worked similar magic with the dance numbers in ALL THAT JAZZ. The opening was just about as breathtaking as it gets. But, oh my, how things have changed. I do not dispute that the rhythms of films such as CHICAGO and DREAMGIRLS are stimulating, but, like the arbitrary staccato editing of a film made long before them (I refer to A FUNNY THING HAPPENED TO ME ON THE WAY TO THE FORUM of 1966), the emphasis is no longer on the performance but on the editing itself. One cannot get a sense of what the hell the dancers are even doing, because the cuts are so quick and show-offey and do not rest on long or medium shots often enough. I get the feeling modern musical dance numbers are cut with an editor's "I want to win the Oscar by using more cuts than ever before" mentality, and not at all so much upon revealing the beauty of the dance itself. As with any of the recent action thrillers, I lose track of perspective and geography. I don't even know what the hell is happening half the time! I want to see the dancers' feet in motion, not close-ups of their elbows, lips, hair, and the smalls of their backs in separate cuts all within a few seconds. Most of today's editors are simply not up to the task. They can take a 3-minute number and break it into two hundred cuts, but they haven't the sense of rhythm or purpose that either Bretherton or Heim had. Surely I am not alone in this. Editors for all types of films these days are way too ostentatious, and their cutting is disorienting and distracting, but I have found that otherwise excellent musicals have suffered the most.