Author Topic: When Gotham Is Ashes, You Have My Permission To SING!  (Read 4626 times)

GothamCity151

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When Gotham Is Ashes, You Have My Permission To SING!
« on: September 09, 2012, 05:02:32 PM »
I know I have been pretty absent from the boards for a little while now. Well, I am back. You're welcome. And I want to come back with a bit of a bang, so I figure, why not start a marathon? In the past, I have not been very committed to my marathons, but this one covers something that is particularly close to my heart: musicals. If you've read my fleeting comments in the music threads or talked to me about music in the chat room, you will know that I love musicals. Whether it be toe tapping or emotional wrenching, Stephen Sondheim or Richard O'Brien, I love musicals. However, I am much more familiar with musicals on stage than I am on film, which may or may not backfire in my enjoyment of some of the films I have not seen from what is in the marathon. But that is what these marathons are for, to expand our film experiences. I know I have quite a lot of movies to watchm so I am going to try and get them done as promptly as I can. It's time for this marathon to begin!

-The Jazz Singer (1927)
-Footlight Parade (1933)
-42nd Street (1933)
-The Gay Divorcee (1934)
-Top Hat (1935)
-Anything Goes (1936)
-Show Boat (1936)
-Swing Time (1936)
-Shall We Dance (1937)
-Snow White And The Seven Dwarfs (1937)
-Babes In Arms (1939)
-The Wizard Of Oz (1939)
-Pinocchio (1940)
-You'll Never Get Rich (1941)
-For Me And My Gal (1942)
-Yankee Doodle Dany (1942)
-You Were Never Lovelier (1942)
-Stormy Weather (1943)
-Cover Girl (1944)
-Meet Me In St. Louis (1944)
-Anchors Aweigh (1945)
-Easter Parade (1948)
-The Pirate (1948)
-On The Town (1949)
-Annie Get Your Gun (1950)
-Summer Stock (1950)
-An American In Paris (1951)
-Royal Wedding (1951)
-Singin’ In The Rain (1952)
-The Band Wagon (1953)
-Gentlemen Prefer Blondes (1953)
-Kiss Me, Kate (1953)
-Brigadoon (1954)
-Seven Brides For Seven Brothers (1954)
-A Star Is Born (1954)
-Guys And Dolls (1955)
-It’s Always Fair Weather (1955)
-Oklahoma! (1955)
-Anything Goes (1956)
-Carousel (1956)
-The King And I (1956)
-Funny Face (1957)
-Jailhouse Rock (1957)
-The Pajama Game (1957)
-Damn Yankees! (1958)
-Gigi (1958)
-South Pacific (1958)
-Porgy And Bess (1959)
-Gypsy (1962)
-The Music Man (1962)
-West Side Story (1962)
-Bye Bye Birdie (1963)
-Kismet (1964)
-Mary Poppins (1964)
-The Umbrellas Of Cherbourg (1964)
-The Sound Of Music (1965)
-A Funny Thing Happened On The Way To The Forum (1966)
-Camelot (1967)
-How To Succeed In Business Without Really Trying (1967)
-Thoroughly Mondern Millie (1967)
-Funny Girl (1968)
-Oliver! (1968)
-Hello, Dolly! (1969)
-Sweet Charity (1969)
-Bedknobs And Broomsticks (1971)
-Fiddler On The Roof (1971)
-Willy Wonka And The Chocolate Factory (1971)
-Cabaret (1972)
-1776 (1972)
-Godspell (1973)
-Jesus Christ Superstar (1973)
-The Rocky Horror Picture Show (1975)
-Tommy (1975)
-Grease (1978)
-The Wiz (1978)
-All That Jazz (1979)

-Hair (1979)
-The Muppet Movie (1979)
-The Blues Brothers (1980)

-Fame (1980)
-Xandau (1980)
-Pennies From Heaven (1981)
-Annie (1982)
-Victor Victoria (1982)
-The Pirates Of Penzance (1983)
-Purple Rain (1984)
-A Chorus Line (1985)
-Little Shop Of Horrors (1986)
-The Little Mermaid (1989)
-Beauty And The Beast (1991)
-Aladdin (1992)
-Newsies (1992)
-The Lion King (1994)
-Evita (1996)
-South Park: Bigger, Longer, And Uncut (1999)
-Dancer In The Dark (2000)
-Hedwig And The Angry Inch (2001)
-Moulin Rouge! (2001)
-Chicago (2002)
-The Phantom Of The Opera (2004)
-The Producers (2005)
-Rent (2005)
-Dreamgirls (2006)
-High School Musical (2006)
-Across The Universe (2007)
-Hairspray (2007)
-Sweeney Todd: The Demon Barber Of Fleet Street (2007)
-Mamma Mia! (2008)
-Nine (2009)
-Les Misérables (2012)
« Last Edit: January 07, 2013, 09:07:22 PM by GothamCity151 »

Sandy

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #1 on: September 09, 2012, 07:04:24 PM »
 :)) GothamCity! That is wonderfully ambitious and I'll definitely be following your marathon. There are 12 I haven't seen, so I'm super excited to hear about those, but the rest! With your musical background, I can't wait to hear your reviews. Have a blast!

1SO

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #2 on: September 09, 2012, 07:25:33 PM »
Marathons are the best way to watch movies. And a musical marathon to boot. Love it!

Bondo

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #3 on: September 09, 2012, 08:33:18 PM »
Lots of Bondo Collection films on that list.

If it becomes available by the time you would get to it, I'd recommend Leave It On The Floor. Once I have reason to believe people can actually watch it (without paying a $4 streaming rental fee) I'm going to be cashing in my social capital to get people to watch my favorite film of 2011.
« Last Edit: September 09, 2012, 08:35:22 PM by Bondo »

smirnoff

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #4 on: September 09, 2012, 08:36:52 PM »
I haven't seen a lot of things on that list, but from what I have seen Hedwig has the catchiest music.

Also, I recommend you Xanadon't. :P

GothamCity151

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #5 on: September 10, 2012, 06:43:19 PM »
The Jazz Singer (1927)

When people think about The Jazz Singer nowadays, it is usually for its pioneering use of sound, as it was the first feature length film to include synched dialogue. There is also an occasional reference to the use of blackface in the film, but no one hardly ever talks about the film itself. I think the reason for the lack of mention is because, well, it is not very good. The film, instead of being about a character or a story, seems to be one-hundred percent focused on the novelty of the sound and Al Jolson's performing skills. I am sure back in 1927 it must have been a great thrill to see, but now the film just feels very awkward and boring. None of the songs featured are there to further move the story along or develop a character. They are simply there to have a song. Why? Because Al Jolson is usually singing them, and people in 1927 really loved Al Jolson. Yes, he is a very exciting and talented performer, but I would rather watch a filmed version of a concert that he would do than a half-baked story peppered with performance numbers that feel out of place. I might have forgiven it if the songs performed were catchy, but most of them blend together in a bland jazz pool. My biggest problem, however, was the use of sound. Not necessarily the sound itself, but the transitions between being a silent film and being a talkie. Mid-scene dialogue will cut out, even when the emotional stakes are particularly really high. I know they had limitations on what they could record, but that does not change for me how distracting it was. All in all, I was hoping that the film was better than just being the introduction to sound, and it turns out it really was not much more than that.

Grade: D+

roujin

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #6 on: September 10, 2012, 09:02:43 PM »
Mammy's the best part.

oldkid

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #7 on: September 30, 2012, 02:09:26 AM »
How great!  Can't wait to read your reviews of some of my favorites!
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GothamCity151

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #8 on: January 06, 2013, 12:46:49 AM »
Les Misérables (2012)

I think I should give a bit of history of me and Les Misérables. When I was about twelve years old, I came across a CD of the Original London Cast of Les Misérables in my a cabinet at my house. I asked my parents what it was and they said some to the effect of, “Oh, it’s a musical. It’s supposed to be good.” So, I took the first disc and started listening to it with my walkman. I was hooked. I had never heard music like this. I listened to it over and over and over. After several months of this repetition, I realized there was a second disc. Needless to say, at the time, it was one of the best things I had ever encountered. It took me a few years before I could fully grasp the story it was telling, but I knew the score was phenomenal. And as I grew older and learned more about how music is composed and I could dive into the lyrics, I realized how sophisticatedly written it is, as well as being nice to listen to. Once I finally got to see the show, I nearly died (figuratively). So, this is without question a film I have been waiting to see for quite sometime. I also should say that I am not the kind of fanboy who is overly precious about the material. I have no problem with them changing, adding, or cutting parts to the show. If it suits the film better, than I am all for it. If it is for its detriment, I will call it out.

I absolutely loved this film. Is it the best made film of the year? No. Do some of the changes hurt the pacing of the film? Yes. In the end, does my emotional response to the film outweigh its technical problems? Yes. Did I cry like a blubbering child at least five times over the course of the film? You're damn right.

Let me start with the most obvious high point of the film: the cast. This cast was badmouthed for months about how they were A-list actors and not traditional stage performers, which means they could not do this score justice. Instead, they add more truth and emotion to the lyrics than anyone could have possibly imagined. Hugh Jackman in the role of Jean Valjean delivers the performance he can take to his grave. He puts himself out there physically, emotionally, and vocally in ways he probably never imagined. Sure, in his upper register, the singing can get a bit nasally, but the rawness of it counters that technique to deliver some breathtaking gut punches. Anne Hathaway. I do not really think I need to say much here that has not already been said. It is a perfect performance. Period. Eddie Redmayne manages to take Marius, who is typically just a blank slate of a character, and turn him into a charming, quirky guy who you can root for. Amanda Seyfried makes Cosette lovelier than she has ever been, making the love triangle very credible. Samantha Barks, in her film debut, totally crushes it with her performance as Éponine. Though the film fiddles with her arc a bit, her forsaken heart hit me harder than it ever has. Éponine is my favorite character from the show and Ms. Barks is the best interpretation I have seen/heard. Sacha Baron Cohen and Helena Bonham Carter add a lot of sinister fun as the second rate thieves. Aaron Tveit as Enjolras, though a bit smaller role than in the stage show, is a commanding presence as the rebellion's leader. Colm Wilkinson, the original Jean Valjean from the London and Broadway stage, adds so much gravitas and history to the Bishop that you can totally understand why he changes Valjean's life, not to mention his godly voice is still there. I also enjoyed seeing West End performers such as Daniel Evans and Hadley Fraser in bit roles. Frances Ruffelle also makes a cameo as one of the "Lovely Ladies". If you know what she sounds like, you'll easily be able to pick her out.

You will notice I have not mentioned a certain key member of the cast, being Russell Crowe. Inspector Javert is my dream role as an actor. Éponine may be my favorite character, but Javert is, in my opinion, the most interesting one. Yes, it is true that Crowe does not have the strongest of singing voices. I get that. What I do not get is the total dismissal of his performance as an actor. Crowe fully understands Javert's psychology. Javert is an Old Testament man living in a New Testament world. He does not believe that men can change. Good is good and bad is bad. That is how things are, and everyone must accept that. He is also a man devoted to his profession. As an officer of the law, he has the ability to uphold this moral philosophy he has built up for himself. When Valjean comes along to challenge that bad people can indeed become good, Javert can only bend so much before he breaks. Crowe, for me, sells this one thousand percent. Sure, he sings exclusively through his mask and his vibrato is nonexistent, but I still think his performance is pretty great.

Now I'll move onto the technical side of things. The costume design, production design, hair, and makeup are top notch. It manages to equally blend making you feel like your are really watching early 19th century France and like you are watching a stage musical. You can feel the mud on the ground, the grease in their hair, and the sweat on their faces. Yes, they do decide to use some CGI in various scenes and none of it ever really feels right. This film did not have the largest budget in the world for a film of this size (a reported $61 million), so I probably would have avoided its use and stuck with the practical sets that were pretty marvelous. I get that they wanted to make it "epic", but the story is epic enough. Thankfully, the CGI is not done that often.

I am not going to get out of this review without talking about the live singing. This is the first movie musical to use live singing with this kind of consistency, and it pays off. Big time. Letting the actors dictate the pace of the songs and allowing them to stay in the moment without having to adhere to a predetermined performance lets emotions run high, fragility come front and center, and allow for things that even a seasoned Les Misérables fan like myself would not expect. It is absolute proof that this is the way musicals should be recorded from now on.

Now, I want to move on to Tom Hooper. Even people who like this film feel the need to shit on Tom Hooper. I am not entirely sure where all this venom is coming from (though, it's probably still people being upset The King's Speech won Best Picture), and it certainly is not justified in the product. Hooper does not sit back and take a paycheck here. He instead tries to reinvent the movie musical, most notably by shooting the majority of the musical numbers in extreme close-up. Personally, I love this technique. He is shooting it as if it were just a drama rather than a musical. Had the film been entirely spoken, nobody would have said peep about the close-ups. However, people are not accustomed to this new way of shooting musical numbers and immediately feel alienated. I think the close-ups add wonders to the numbers. Getting right in the actors' faces forces the performers to never play it false. If there is a false moment, we will easily be able to detect it because the actor cannot hide. Just look at "Valjean's Soliloquy", "On My Own", "Empty Chairs At Empty Tables", "A Heart Full Of Love", "Bring Him Home", and especially "I Dreamed A Dream" to understand how powerful that shot can be. Yes, Hooper does get a little wonky from time to time. I am not sure what was going on during Crowe's two solo numbers with the camera. My guess is that he was afraid of Crowe's singing and wanted to add a distraction. That does not work. Crowe is a good enough actor. Let him sell it. There is also one really out of place dutch angle on a simple shot of Jackman and Redmayne standing that really made me head scratch. With Hooper's directorial camera decisions, I say around 92% of them work, whereas 8% do not. That seems like a fair trade off to me.

Is this a perfect film? Hardly. I am just one to get wrapped up in the earnest emotion and raw power this story and these characters have to give. The score is just as powerful as ever, the cast is incredible, and the film looks beautiful. The film had me right where it wanted me to be. I was applauding after musical numbers. I cried when they wanted me to cry. I laughed when they wanted me to laugh (though, it was not that often). Les Misérables manages to always get me swept up in it. I do not understand the cogs as to why, but it does. I cannot help that. Sure, technical issues are going to be here and there, but in the end, it never really mattered to me. The film had me in its care from the opening frame to the closing frame. I love Les Misérables, and I am not afraid to say it. Or sing it.

Grade: A++

Sandy

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Re: When Gotham Is Ashes, You Have My Permission To SING!
« Reply #9 on: January 06, 2013, 01:17:37 AM »
Epic review GothamCity! :)

You told me about Colm Wilkinson being in the movie and I still gasped a little when he came on screen. You're absolutely right about what he brought to the film. I too was impressed with Aaron Tveit and knew the moment he sang his first notes, they had chosen well. Thanks for writing about your history with the musical and how you just happened upon it, and that crying was part of your movie experience. I'm in good company. :)

I can't find a thing about what you wrote that I don't agree with.