Lew Crippen
Senior HTF Member
- Joined
- May 19, 2002
- Messages
- 12,060
"I got the horse right here, his name is 'Paul Revere'"...The Name is Valentine,
The odds are five to nine;
Can do, can do;
The man says the horse can do
"I got the horse right here, his name is 'Paul Revere'"...The Name is Valentine,
The odds are five to nine;
Can do, can do;
The man says the horse can do
Dennis, I think you're the only person other than myself that I've ever seen admit to enjoying Gigi here on HTFNot at all Rain. I rated this :star: :star: (out of four and one that I consider ‘worth seeing’). I wrote the following in the AFI thread:
“My wife claims to know every note and word in the music of Gigi. I, on the other hand am largely indifferent to the music (except for a couple of tunes, notably Thank Heaven for Little Girls), something that surprise me, as I quite like Learner and Lowe.
”There is lots to like, especially the aunts and most especially Hermione Gingold, who easily steals every scene where she is present. Maurice Chevailer is perfect as the jaded roué and Leslie Caron luminious as the ingénue.
”The story taken from a novel by Colette, has a bit more substance than some musicals, but that in a 50’s musical is almost beside the point. What is lacking in this musical is the music.”
Singin' in the Rain (I put this last because of that godawful ballet at the end. Without that it would be top 5).That's a poor excuse to put the greatest musical of all time last on your list George, all you have to do is hit next chapter. Btw I love that entire 10min sequence, the color is amazing. Wizard of Oz no.1 on your list and Sound of Music up there too? We def don't have the same taste in musicals Mr.Kaplan.
R.Thornhill.
I put music and singing talent above dancing in a musical, and that moves most of the films in your list way down on mine.Clears up a bit George. In the end most musicals’ casting turns out to involve some pretty heavy compromises, as the demands of acting, singing, dancing and on screen looks/persona/chemistry are considered. And often even the music involves a great deal of compromise, because the original casting (frequently for the stage) had a singer or two of limited range—so the composer just had to write music to fit the performer.
Leonard Bernstein, for example envisioned opera singers when he wrote the music for West Side Story. Naturally, none would have fit into Jerome Robbins staging, so that was out for the first casting. And of course in the movie, we have a lead who can’t sing at all and is at best adequate as a dancer. So Maria’s singing is all someone else. But there is a two CD version with Bernstein conducting his own music, selecting Kiri Te Kanawa and José Carreras to sing Maria and Tony.
It takes a bit of getting used to hearing a Broadway musical sung by voices like this, but it is truly enchanting when you make the mental switch.
Singin' in the Rain (I put this last because of that godawful ballet at the end. Without that it would be top 5).Kind of harsh for a film that has no ballet sequence at the end. You have SITR confused with An American in Paris, released a year earlier.