lennnypooh

[lennnypooh]

This is such an interesting take that I did not think of but totally agree with. "intimidating rather than submissive" makes so much sense, especially in relation to the cabaret. People in these kinds of performances are often labeled of "odd" or "freaks" and it is interesting to think about it in the context of your post.

Viewing Response 7 Cabaret

In Bob Fosse’s Cabaret, choreography, cinematography, and costuming all aim to characterize the Cabaret as strange and disorienting. As Sharon Cowan explains in “We Walk Among You: Trans Identity Politics Goes to the Movies”, “The cabaret was seen as the perfect venue for breaking taboos and experimentation”, it “provided a space for patrons to become the people they could not be out of its boundaries” and a space “to enjoy ‘fleeting diversions of the purposely grotesque world of the Cabaret’”(105). 

Some of this “grotesque” boundary breaking can be seen in the number Mein Herr for example where bizarre choreography and extreme makeup subvert gender norms. The dancers begin the number positioned strangely in their individual chairs, mostly facing away from the audience. Throughout the song, the dancers remain in their chairs but adjust their positions. Legs shoot up in the air and are bent strangely, dancers sprawl like starfish on their backs, or lie straight like planks. Bicycle kicks, shaking ankles, and stomping all work to characterize the choreography as bizarre and peculiar. It’s this weirdness that subverts traditional femininity and the objectification and sexualization of the male gaze. The use of extreme makeup works in the same way. Makeup isn’t applied in a traditional sense to make dancers appear delicate, and naturally attractive. Instead, makeup application is extreme and exaggerated–used to make eyes appear creepily large and create undereye bags with harsh contours. This unsettling, almost alien makeup subverts gender expectations as the performers read as intimidating rather than submissive. These sorts of tactics reveal the cabaret to be a powerful place–one capable of deviating from and criticizing the norms and constraints of the outside world.

[lennnypooh]

I really like this analysis. There were many times where I felt like the Emcee was kind of like a third person omniscient narrator because all the looks he would give to the camera and Sally insinuating he knew what "we"/"she" were thinking.

Cabaret (1972)

In Bob Fosse's Cabaret, the MC embodies the film's critique of heteronormative norms, a theme that aligns with Sharon Cowan's analysis in "We Walk Among You: Trans Identity Politics Goes to the Movies," albeit through a different lens.

The MC, with his flamboyant makeup and participation in a trouple in "Two Ladies," defies traditional masculinity, presenting a character that thrives on ambiguity and fluidity.

This portrayal challenges viewers to reconsider the rigidity of gender and sexual identities, echoing Cowan's discussion on the importance of cultural representations in acknowledging and validating trans identities. Cabaret, through characters like the MC, provides a vibrant exploration of gender and sexuality that transcends conventional boundaries.

Cowan's work underscores the significance of such representations in fostering a societal shift toward the acceptance of diverse identities. By juxtaposing the MC's defiance of gender norms with Cowan's analysis, we can appreciate the film's contribution to the dialogue on gender, sexuality, and identity politics, highlighting the ongoing evolution of societal perceptions and the legal recognition of trans and non-binary individuals.

[lennnypooh]

Cabaret (1972)

In Cabaret, the narrative is intricately woven with the stage performances at the Kit Kat Klub, where the songs often mirror the personal lives of the characters and the political climate of the era. The cabaret performances serve as a commentary on the unfolding events, providing insight into the characters’ emotions and societal issues. For instance, songs like "Two Ladies" mirrors the love affair going on between Sally, Brian, and Maximillian, "If You Could See Her" echoes the inner turmoil Fritz feels hiding his religion from Natalia and his friends out of fear of retaliation, "Tomorrow Belongs to Me" reflect the rising tide of Nazism, while "Money" critiques the pervasive materialism affecting personal relationships/Sally's initial interest in Max.

The cabaret itself is a haven of acceptance, showcasing cross-dressing and a welcoming atmosphere that embraces diverse lifestyles. This aspect is captured in the quote describing the cabaret as a place that offers "a forum for a plurality of lifestyles, a sort of waxworks chamber of taboos and abnormalities, both celebrating diversity and lambasting eccentricities." This portrayal underscores the fluidity of sexual and gender identities, allowing characters to traverse and blend these boundaries.

Sally Bowles' final song, "Life is a Cabaret," encapsulates this ethos. It suggests that life, like the cabaret, is a performance where one can defy conventions and embrace a multitude of identities. This sentiment reflects the cabaret's celebration of diversity and its critique of societal norms, reinforcing the idea that life itself is a stage for varied and fluid expressions of self.

[lennnypooh]

I agree with your take, Cabaret very masterfully was able to interweave various aspects of gender and sexuality and performance and reality.

Exploring Trans Identity in Cabaret: A Cinematic Analysis

In Bob Fosse's Cabaret (1972), Sharon Cowan's analysis of trans identity politics illuminates the nuanced portrayal of gender and sexuality, particularly in the iconic "Money" scene. As Sally Bowles performs amidst the decadent backdrop of the Kit Kat Club, Cowan's insights shed light on the subversive nature of gender presentation. The mise-en-scène, characterized by extravagant costumes and exaggerated makeup, challenges conventional gender norms, inviting viewers to question societal constructs.

Cowan's examination of narrative dynamics is evident as Sally's performance blurs the boundaries between masculine and feminine, embodying a fluidity that transcends binary categorizations. The cinematography captures the ambiguity of gender through close-ups that emphasize Sally's provocative gestures, inviting viewers to confront their preconceptions.

Moreover, the lighting design contributes to the scene's subversive undertones, with stark contrasts accentuating Sally's defiance of societal expectations. Through strategic editing, Fosse amplifies the tension between conformity and liberation, underscoring the complexities of identity politics.

Ultimately, Cowan's analysis enhances our understanding of Cabaret's thematic richness, illustrating how cinematic elements converge to challenge normative notions of gender and sexuality. The scene serves as a microcosm of the film's broader exploration of identity, underscoring the enduring relevance of Fosse's masterpiece in contemporary discourse.

[lennnypooh]

This is an interesting point. Orpheus and Eurydice do seem to have a sweeter relationship than him and Mira, it is a clear difference between how he treats her vs Eurydice.

Viewing Response 2: Black Orpheus

The shimmering, vivid aesthetics of Marcel Camus’ Black Orpheus work to celebrate sensuality and sexuality in the film, aligning with Santos’ wish and assertion “that there is no ‘either/or’ in carnival practices”(Santos 115). Though this film’s depictions and descriptions of sexuality do not always reject dichotomies about sexuality, like the madonna-whore trope for example, the film does blatantly celebrate attraction, sexuality, and love while Diegues’ Orfeu does not. 

After Eurydice is attacked by the masked man, Orpheus takes her back to her cousin’s house and promises to protect her, sleeping outside of her room. When she can’t sleep she calls for Orpheus and it’s assumed they spend the night together. The next morning, Orpheus sings a song on guitar for Eurydice while she’s still sleeping. The gold sun prop intended for the carnival performance rests against the wall behind them and provides the lovers with a bright, gilded aura. This visual choice celebrates both the physically and emotionally intimate aspect of Orpheus and Eurydice’s relationship–especially as he sings the words “My happiness is dreaming, deep within my sweetheart’s eyes”. Unlike Diegues’ Orfeu as described by Santos, this scene focuses on the sweetness and happiness of their love rather than Euridce’s virginity. It's speaks to who they are as characters and contributes to story rather than establishing a “radical separation between love and lust”(113). Marcel Camus’ Black Orpheus uses beautiful set design and painterly mise-en-scène to celebrate its core themes.

[lennnypooh]

I really like this post highlighting the rhythmic music throughout the musical. I thought the scene we saw of the 1999 version of them making a percussion beat through feet stomping, screaming, and hitting things.

Welcome to the Jumble II

One distinctive feature of many scenes in Black Orpheus (1959), is the roaring sound of drums and horns. As the boat approaches the dock at around the 4 minute mark we, the audience, hear the rhythmic thumping of the percussion. The sound stays the same volume no matter the distance which makes our approach into Rio and the music of Carnival all-encompassing and central to the film.

This same rhythmic music appears across several scenes, spanning different times and locations. I found this important because of the point Santos made about how in the 1959 version, “Music is not central to Orpheus’ way of life,'' while in the 1998 version it becomes his profession and thus the center of his life. The constant presence of the Carnival drums and instruments creates a sense of unity amongst the Afro-Brazilians community and the lighter skinned Brazilians. Of course this sense of unity does not reflect the real and complicated racial dynamics of Brazil at the time but it does reflect the belief of elite Brazilian society of their own racial democracy.

[lennnypooh]

This is a very nuanced take. i feel like there are negative you can say about the film but also positive. It is a very clear difference between the original film made by a non Brazilian, white man, and the more recent one that depicts more realistically the realities of life in Brazil.

Viewing Response 2: Welcome to the Jungle II

There are two different worlds created in the two different productions of the story of Orpheus. In Marcel Camus' Orfeu Negro, Rio de Janeiro is portrayed as a lively, romanticized, and culture filled city where black culture is admirable. This plays into the romance between Orpheus and Eurydice which follows the same structure and is highlighted by the same mood of the original Greek myth. The second production of 1999, titled Orfeu, directed by Carlos Diegues, is a film brutally grounded in reality, only showing the negative sides of Rio such as slums and gang violence. What Myrian Sepúlveda dos Santos argues in her "Black Orpheus and the Merging of Two Brazilian Nations", is that the nation of Brazil and specifically, the city of Rio de Janeiro is not defined by cultural identity, pertaining to the black identity. Sepúlveda dos Santos argues that the black Brazilian identity is a dichotomy, characterized by negative economic, industrial, and social consequences as well as lively, romantic expressive culture. An example of how Camus' film is embodied by one side of this dichotomy is the sequence from minute 27:40 to minute 33:00. This sequence begins with Orpheus playing guitar and singing out his feelings for Eurydice, which then continues to him explaining the Greek myth to Eurydice while searching for a kiss, and finally the two share I nice moment while watching the sun set. Engaging Cinema refers to this type of lighting as the "magic hour" which softens the whole scene and adds to the romance. A more romantic six and a half minutes without the actual act of kissing could not be recreated in a film. Everything lends it self to the development of their romance in this sequence: the wind and open set, Orpheus longing for intimacy, Eurydice's white dress symbolizing her chastity, and the grand sunset. If there is one sequence that highlights the one half of the dichotomy between the two productions of this ancient story, it's this one.

[lennnypooh]

Black Orpheus (1959)

In "Orfeu Negro [Black Orpheus]," director Marcel Camus presents the tragic love story of Orpheus and Eurydice set in Rio de Janeiro through the perspective of a white man. White French director Camus approaches the film with a Euro-centric mindset and gaze, evident in the portrayal of the Carnival scenes. Unlike the majority of foreign films of its time, "Orfeu Negro" uses color to enhance the interplay between race and color. The film’s vibrant set design and costuming create a simplified and exoticized view of Brazil. The striking costumes of characters like Orpheus, Eurydice, Mira, and Serafina turn Brazil into a spectacle through the white lens. While Carnival in Rio is a time of celebration and joy, the film's colors can distract viewers from the reality of the festivities.

Myrian Sepúlveda dos Santos, author of “Black Orpheus and the Merging of Two Brazilian Nations,” highlights the lack of representation of the actual bodily practices during the festivities. A quote that encapsulates this idea is, “To many people, they represent not merely the rehabilitation of pleasures that are normally repressed from their everyday lives, but mainly the unmasking of official rules about the normal content of sexuality.”

[lennnypooh]

I really like the points you made in this post. The colors are very blatantly used to separate the two sides and it feels very stereotypical on the Sharks part

Color and Race in West Side Story (1961)

In the "Dance at the Gym (Mambo)" sequence from West Side Story (1961), the connection between color and race, as discussed by Lauren Davine, becomes evident.

The mise-en-scène includes contrasting colors, which reflect the separation between the Sharks and Jets. The Sharks wear warm and vibrant colors such as red, orange, and purple, while the Jets wear cooler tones such as blue and white. As the two groups engage in a dance-off, the visual separation created by their movement and costume colors represents the underlying racial tensions. The use of color emerges as a powerful tool for visual storytelling, symbolizing the clash of cultures and identities.

Davine's exploration of color as a racial signifier showcases the clash of cultures and identities. In her work, she notes, "[T]he color red in the film performs a dualistic and contradictory function. On the one hand, red is associated with the Puerto Rican immigrants; on the other hand, the logic of the film portends that 'true' blood is ultimately white blood" (143). This notion introduces a problematic racial hierarchy, favoring whiteness as the societal norm. The conflict in using red raises questions about the film's portrayal, particularly since most actors playing Puerto Rican characters aren't of Puerto Rican descent.

It's important to examine the use of colors and race in West Side Story (1961), as it sheds light on how cinematic choices can unintentionally perpetuate racial hierarchies and reinforce harmful stereotypes.

@theuncannyprofessoro

[lennnypooh]

This is such a good point! At the end of the day the conflict arises amongst neglected communities that love in conditions overrun by industrialization. The idea of "nature" and "beasts/survival of the fittest" makes a lot of sense.

Response 1: West Side Story

In Robert Wise's West Side Story (1961), Lauren Davine's analysis in "Could We Not Dye It Red at Least? Color and Race in West Side Story" sheds light on the interplay of race and color within the film. One particularly striking scene that resonates with Davine's insights is the dance at the gym. Amidst the vibrant colors and energetic movements, the racial tension between the Jets and Sharks becomes palpable through formal cinematic elements.

The mise-en-scène, with its contrasting costumes and settings, visually reinforces the racial divide. The Sharks, clad in bold, colorful attire, stand out against the Jets' more subdued clothing. Cinematography also plays a crucial role, framing the dancers in ways that emphasize their racial affiliations. 

Davine's examination of color symbolism enriches the analysis of this sequence. The choice of colors in the costumes and set design transcends mere aesthetics, serving as a visual manifestation of the racial tensions embedded in the narrative. The dance at the gym thus becomes a microcosm of the broader societal conflicts portrayed in West Side Story.

Moreover, the film doesn't rush into storytelling but begins with a continuous aerial shot, presenting the towering skyscrapers of New York City as if they were primal jungles made of steel and concrete, seemingly accusing the audience. Contemporary humans seem to abide by the law of the jungle, akin to beasts in their adherence to survival of the fittest, implying the city's ruthlessness. This resonates with the subsequent turf wars and conflicts between the two major gangs, hinting at the unforgiving nature of the city. Furthermore, under the influence of mass industrial production, humanity is neglected, with the absence of previous humanistic concerns, rendering individuals as tiny and invisible as mere debris amid the overwhelming products of industrialization.

@theuncannyprofessoro

[lennnypooh]

I agree with all you have analyzed. I often thought how Maria's color palette matched with the Jets better than any other character on the Sharks side. She wears a lot of yellow that the Jets often wear making me think it was purposefully chosen to portray her as the "exception."

Viewing Response 1: Color in West Side Story

Much has been written about the prominent use of color in the 1961 West Side Story – how the Sharks and Jets are delineated by different color stories and how vibrant colors (or a lack thereof) are used to illustrate the burgeoning relationship between Maria and Tony. As West Side Story appears to find great entertainment in its deployment of color as signifier, it is only reasonable that our modern critiques of the film also center color and its effects on the story. 

West Side Story assigns colors to the warring Sharks and Jets as a means by which to illustrate the disparity and divide between these ethnic groups. While the Jets dawn pale blues and yellows and greens, the Sharks wear eye-catching purples, pinks, and reds. By keeping its characters in their uniforms of respective colors, West Side Story keeps the audience acutely aware of the divide between the Sharks and Jets. 

However, this has the effect of alienating the Sharks. By dressing its non-white characters in bright, stagey clothing in a world characterized by muted tones, the film others them. As explained by Lauren Davine in her analysis of color in West Side Story, its use of color as signifier, “ruptures its perceived organic unity.” The rupture in the chromatic world of the film is done by the colors the filmmakers chose to dress the non-white characters in – not what they chose to place the white characters in. 

On another note, with the characterization of the Sharks and Jets in bright and muted colors respectively, the film analyzes ideas of acculturation and assimilation in America. By adorning Maria in muted versions of Shark colors for the majority of the film, West Side Story aligns her closer with the Jets – who represent a more assimilated American ideal – than it does to any of the other Sharks. By placing Maria in muted colors, the film declares that she desires to be assimilated in American culture. She wears Jets colors during her “I Feel Pretty” number, wherein she illustrates how she hopes to feel comfortable and confident based on the approval she could receive from white American society. Here, she dawns Jets colors as a chromatic manifestation of her dream life. 

Tony, in comparison, undergoes a much less noticeable change in his color story than does Maria. He wears colors that are associated with the Jets throughout the film, appearing in earth tones just like his Jets mates. He does not have to have his colors stripped away from him so that he can be more easily painted upon.

His identity as a white American man and a member of the Jets is not threatened as Maria’s is. The film’s adherence and loyalty to the Jets’ colors in Tony’s color palette is an unconscious, chromatic signifier of his relative security in his identity. Through color, it holds the characters of Maria and Tony to the double standard to which they are being exposed within the world of the story– as Maria is stripped of Sharks colors (until the film’s conclusion) while Tony remains comfortable in his Jets colors throughout.

[lennnypooh]

West Side Story (1961)

In West Side Story, the use of the color red serves a similar purpose to the depiction of the sweltering heat in Romeo and Juliet, which conveys an atmosphere of tension and aggression. In Shakespeare's play, the intense summer heat exacerbates tempers, making the characters quick to anger and violence. This thematic element is visually translated in West Side Story through the pervasive use of red, especially in the film’s opening scenes. The vibrant color signifies not only passion and love but also anger and impending conflict, mirroring the volatile environment in which the story unfolds.

Lauren Davine in "Could We Not Dye It Red at Least?”: Color and Race in West Side Story" says, "The conflict between the two rival gangs is played out through the film’s color, which disrupts its organic unity. This disunity expresses a fear of miscegenation, an anxiety that insidiously permeates the entire film," highlights how red symbolizes the underlying racial tensions and societal fears. The visual discord created by the contrasting colors underscores the disruption caused by the rivalry between the Jets and the Sharks, much like how the oppressive heat in Romeo and Juliet intensifies the feud between the Montagues and Capulets. Red becomes a visual metaphor for the characters' inner turmoil and the community's anxiety, reinforcing the narrative of conflict and division central to both works.

[lennnypooh]

Your focus on different representations and possible stereotypes of each religion is so interesting. I did not realize that. Also I agree with how you highlighted that it is not the best at portraying religious conflict due to failure to acknowledge complexities of the conflict between the two.

Rolling Up the Partition II

The film Dharamputra directed by Yash Chopra while attempting to ramify the Indo-Pak Partition and address religious bigotry, it paints a false picture and puts Muslims into a stereotypical box while idealizing the Hindu faith. This is supported by Sony Jalarajan Raj's and Adith K. Suresh's article titled Reframing Islam in Bollywood Cinema: A Study on the Construction of the Islamic Identity in Indian Cinema in which they state "It argues that whenever the corporeality of Indian Muslims is expressed through such forms, they get incorporated into the existing historic-geographical narratives, fictiona- lized as ideal stereotypes, normalized to fit into a particular political or ideological view, and finally get solidified into a set of polarized collective identities" (Raj and Suresh 357). A false sense of perfect religious harmony is shown in the musical number Chahe Yeh Mano Chahe Woh Mano which roughly translates to Believe it Or Not. In the number, Muslims and Hindus are shown in perfect harmony acknowledging each others religious and respecting them.

This number and the whole film assumes cooperation of the two religions as they face British rule without addressing the history of the Indo-Pak partition and the true characteristics of the religions themselves and how they could relate to the character development but they do stereotype the religions. Muslims are almost always seen in black while Hindus are seen in white, performing noble deeds and occupying positions of power like Nawab in his death.

As Engaging Cinema by Bill Nichols addresses "How do films respond to or represent both an his­ torical period-if they are set in the past-and the time of their own making-whether set in the past or not?" (164) A film with serious historical and societal implications must address them accurately and Dharamputra does not because of the stereotyping of the Muslim religion and the failure to acknowledge intricacies of the deep set conflicts between the two religions. The film is at times blanketed with an us and them narrative when there is so much more involved. Other times it's in denial of conflict. Neither are desirable for portraying historical conflict in the wake of a partition.

[lennnypooh]

I like how you mention that Dilip's "othering" is a process. I wonder how he would have acted if it was the other way around or if he never found out in the first place.

Dharamputra

"Dharamputra", directed by Yash Chopra, intertwines themes of identity, religious division, and the social unrest that defined pre- and post-independence India (1925-1947). Set against this backdrop, the film delves into the story of Husn Bano, a young, unwed Muslim mother forced to give up her son due to societal pressures.

The film explores the human cost of such pressures, particularly on the identity of Indian Muslims. It exposes the phenomenon of "othering," where a dominant group constructs the "other" as different and potentially threatening. This concept becomes tragically relevant in the wake of Partition, as Dilip, raised as a Hindu and indoctrinated with nationalist fervor, struggles to reconcile his upbringing with the sudden revelation of his Muslim heritage.

Dilip's transformation from innocence to bigotry reflects the escalating religious tensions of the era. He embodies the "othering" process, becoming a staunch Hindu fundamentalist who actively opposes non-Hindu beliefs. As Sony Jalarajan Raj and Adith K. Suresh discuss in Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema, "Partition of the Indian subcontinent unilaterally separated individuals into elusive categorizations of ‘us’ and ‘them’". The film portrays the loss of a shared Hindu-Muslim identity post-Partition, highlighting the devastating impact of societal pressures and nationalistic ideology on individuals and communities.

In conclusion, while "Dharamputra" doesn't explicitly offer a path towards healing the divides, it is a reminder of the human cost of religious polarization and the enduring need for understanding and tolerance in a divided world. By showcasing the tragic consequences of othering and the loss of identity, the film compels viewers to critically examine their own biases.

Works cited:

Jalarajan Raj, Sony, and Adith K. Suresh. "Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema." Asian Journal of Communication (2023): 1-15.Harvard

[lennnypooh]

This is an interesting take on the movie, I definitely understand what you mean about effects sound has on the film.

Viewing Response 4

In Yash Chopra's Dharamputra(1961), one scene that can be analyzed through the lens of Sony Jalarajan Raj and Adith K. Suresh's study is where we witness the protagonist Ram's internal struggle as he witnesses the communal tensions escalating between Hindus and Muslims in his community. Set against the backdrop of a bustling marketplace, the scene is characterized by chaotic cinematography. There are also camera movements and rapid editing that intensifies the atmosphere of unrest.

As Raj and Suresh suggest, mainstream Indian cinema often associates expressions of Indian Muslim identity with the historical and nationalistic struggles of Partition. In this scene, the narrative unfolds as Ram navigates through the crowd, encountering confrontations between members of different religious communities. The mise-en-scène reinforces the dichotomy between Hindus and Muslims, with subtle visual cues such as distinct clothing styles and religious symbols accentuating the divide.

The use of sound further contributes to the scene's tension, with overlapping dialogue and ambient noise adding to the sense of unease. The cacophony of voices reflects the multiplicity of perspectives and conflicting ideologies at play.

Through Raj and Suresh's analysis, we can interpret this scene as emblematic of the broader societal tensions surrounding Muslim identity in post-Partition India. The cinematic elements of narrative, cinematography, editing, and sound converge to underscore the complexities of communal relations and the enduring legacy of Partition on the Indian psyche.

[lennnypooh]

Your analysis of 500 miles is interesting, especially after I found out that that song is a part of the soundtrack of another tv show.

Roundtable: Sunshine on Leith

Sunshine on Leith tells the story of two soldiers, Ally and Davy, returning home to Edinburgh after a tour of duty in Afghanistan.

The social aspects of "Sunshine on Leith" are mirrored perfectly by the film's soundtrack, which consists mainly of songs by “The Proclaimers.” Some of the principal themes that we can see being explored in the movie are community, relationships, social class and identity, and the songs play a huge role in telling the stories. For example, “I’m gonna be (500 miles)” highlights the relationships, communal, familial, and romantic, between the characters. The flash-mob scene in Edinburgh's Princess Street reflects the importance of community and support networks while the cut to the other two scenes offers a much more intimate perspective on the struggles of having a loved one far away from home and/or being the person who returned home and finding a community and identity after living through such a traumatic experience. Similarly, “Letter from America”, speaks to feelings of longing, home, belonging, and the comfort found in familiar places. It underlines the importance of their hometown as a source of not only instability and solitude but also solace and familiarity—ironically.

The established history of The Proclaimers' songs adds another layer of meaning to "Sunshine on Leith" for audiences familiar with the band's earlier work, but it can reframe the audience's understanding of the songs, which are delivered in a much less punchy/rock style than their original versions. For instance, "Sunshine on Leith," a song traditionally played at funerals, adds depth to the emotional impact of the film. It is not played during a particular important scene but it is often playing softly during a scene of reflection or longing for home. On the other hand, a song like "Letter from America," written about long-distance relationships in general, becomes more poignant when applied to the specific context of war and separation  after Jean and Liz’s intimate conversation in the film. 

The music that drives the score of "Sunshine on Leith'' can be classified as a combination of folk rock and pub rock. The latter is a genre associated with The Proclaimers' music, which forms the backbone of the film's soundtrack. It often features acoustic guitars, sing-along choruses, and lyrics that deal with issues of the social realm, working-class experiences, and everyday life, which are elements that perfectly capture the film’s essence and the social fabric of it. On the other hand, while the film might not have full-blown pub scenes, the pub rock elements we find in the songs add a sense of vibrancy and camaraderie to the story. 

“Sunshine on Leith" redefines the film as a musical by adding songs that provide a sense of gritty realism, reflecting the character’s working-class lives and the challenges they face after coming back from war. Folk rock and pub rock often have a more raw and unpolished sound compared to traditional musical scores. This choice adds a sense of gritty realism to the film, reflecting the characters' working-class lives and the challenges they face. The familiar melodies and relatable lyrics create a sense of shared experience within the film but also the audience, and unlike some musicals where the music takes center stage, this film uses its folk rock and pub rock score to enhance the story and characters. The music isn't just entertainment; it's an integral part of the narrative.

[lennnypooh]

It is so interesting to me how scenes like "I got rhythm" is mimicked in a lot of musicals. Many have their own version, I wonder if this is the original that they refer to.

Roundtable 3: An American in Paris

"An American in Paris" is a classic musical from 1951, directed by Vincente Minnelli and featuring the lively music of George Gershwin. The film stars Gene Kelly as Jerry Mulligan, an American painter living in Paris, who falls in love with a beautiful dancer named Lise, played by Leslie Caron.

What are the social aspects within the film’s narrative that align with the film’s songs?

Cultural Exchange and Integration, "I Got Rhythm": Jerry Mulligan performs this song when surrounded by French children. The scene illustrates the cultural exchange between the American protagonist and the local Parisians. Jerry, who is an American, uses his charm and artistic flair to connect with French culture, which is receptive but also distinct. It symbolizing the blend and appreciation of different cultures.

Post-War Optimism and Recovery, “I’ll Build a Stairway to Paradise": Performed during a lavish nightclub scene, this song reflects the luxurious and escapist environments that became popular in post-war Europe as a way to move past the hardships of World War II. The entertainment industry, including nightclubs and music halls, played a crucial role in this societal recovery.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

Period Reflection: The songs selected for the film not only reflect the musical zeitgeist of Gershwin's time but also evoke the vibrant energy of the Jazz Age and the subsequent years. This cultural embedding helps the audience connect the narrative’s setting—post-war Paris—with the broader historical narrative of American music and its influence.

Gene Kelly’s Star Power: Gene Kelly was not just an actor but a celebrated dancer and singer whose performances were major draws for audiences. His ability to embody the spirit of Gershwin’s music through dance (particularly evident in the ballet sequence) and song significantly influences how audiences perceive and connect with the film. Kelly's own history and persona as a performer add an additional layer of appreciation and engagement for the audience.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The musical genre that primarily drives the score of "An American in Paris" is a fusion of classical and jazz music, uniquely embodied through the compositions of George Gershwin.

Redefining Musical Film Structure: Unlike many musicals of the time, which often featured scores written directly for the screen, "An American in Paris" uses a pre-existing, concert-oriented score that is adapted into the film's narrative. This approach allowed the film to explore more complex musical forms typically associated with the concert hall rather than the musical stage. The extended ballet sequence set to Gershwin‘s "An American in Paris" is a prime example, offering a narrative told almost entirely through dance and music, reminiscent of a classical ballet but infused with jazz energy.

Broadening Audience Appeal: The integration of jazz with classical music broadened the film's appeal, attracting not only traditional fans of musical theater but also those who appreciated more serious musical forms. This crossover appeal helped redefine what a musical film could be, making it both a popular entertainment medium and a serious artistic endeavor.