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The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

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What did YOU see this weekend?

 

Elle. Basically the same movie as The Piano Teacher but sillier. Huppert is great, but when is she not? -Jonathan

The Edge of Seventeen because I needed something light and fun. So delightful, and anchored by a wonderful Hailee Steinfeld performance. - Marina

 

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Maria Schrader (Stefan Zweig...)
Boo Junfeng (The Apprentice
Gianfranco Rosi (Fire At Sea)
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Entries in TV (496)

Wednesday
Nov302016

Judy by the Numbers: "I Like Men Medley"

 Anne Marie has been chronicling Judy Garland's career chronologically through musical numbers...

So it may not look like it offhand, but today's episode marked another big shift in the rocky history of The Judy Garland Show. After producing seven episodes, firing most of the staff, kicking Jerry Van Dyke to the curb and reformatting the show, Norman Jewison exited as planned after the 13th taped episode. He would be replaced by Bill Colleran, a producer from Your Hit Parade.

The ShowThe Judy Garland Show Episode 13
The Songwriters: Various, arrangement by Mel Torme
The Cast: Judy Garland, Peggy Lee, produced by Norman Jewison

The Story: (My favorite part is the surprise boas at 3:00.) Though Jewison wasn't able to improve the unsteady ratings of The Judy Garland Show, the episodes he produced would set the established characteristics of the show at its peak. More cinematic production, the movement away from sketch comedy, and an emphasis on music and a variety of guest stars all defined Jewison's tenure on the show. The Peggy Lee medley exemplifies all of these qualities, but also points towards the show under Colleran's stewardship: two cabaret singers belting standards. Colleran would transition the show towards a concert format. But before he could complete that transition, it was time for Christmas.

Monday
Nov282016

Veronica Mars: Noir Hidden in Teen Angst

by Jorge Molina

The thing about noir is that, at its purest, most classic, most Maltese-Falcon-iest form, it’s a fairly recognizable genre. The character tropes are clear, the themes are evident, and the stylistic elements jump off the screen. For the most part, you know a film noir when you see one.

However, the more interesting members of the genre are those that won’t have a smoky detective office telling you that what you’re about to watch. They either subvert the learned expectations of the noir, or they hide them in original packaging...

Click to read more ...

Sunday
Nov272016

Doctor Strange and the Comic Book Movie Dilemma

by Deborah Lipp

I have a pet peeve about comic book movies, and Professor Spouse is sick of hearing it, so I’m imposing on you all. When Professor Spouse and I got back from seeing Dr. Strange, I said, “I have one* complaint—it’s an origin story.” She said, “I knew you would say that.” 

*Well, only one complaint that is the subject of this essay.

The fundamental problem in comic book movies is the shift into a different medium, though in many ways the mediums are a natural fit...

Click to read more ...

Wednesday
Nov232016

Judy by the Numbers: "Moon River"

 Anne Marie has been chronicling Judy Garland's career chronologically through musical numbers...

This Thanksgiving, I’m thankful for the simple things. This series (like TFE as a whole) has been a classic cinephile sanctuary for me this year. As the outside world has spun out, sped up, slammed down, and generally tossed us around, I’ve really enjoyed sharing music and tidbits of trivia with you all this week, and reading your reactions/stories/controversies – even when I haven’t been able to reply myself. So briefly, before we get to this beautiful solo number, I just want to thank Nathaniel & you, the TFE readers, for continuing to create a lively, loving community.

The ShowThe Judy Garland Show Episode 12
The Songwriters: Johnny Mercer (lyrics), Henry Mancini (music)
The Cast: Judy Garland, Vic Damone, Zina Bethune, George Jessel directed by Norman Jewison

The Story: I just realized that this is the first solo from The Judy Garland Show that I’ve featured on the series! Judy actually did several per show, but usually the highlight of the show was her duets and collaborations with odd guests, musical legends and nascent superstars. However, this version of “Moon River” is a good reminder of what made the show so good.

It’s not just the trivia or the name-that-guest throwback; it’s the genuine skill andoccasional artistry overlaid with real emotion. The number is comprised of two long takes, as the camera moves in and pulls away from Judy. The scene actually resembles the long take of “The Man That Got Away” from just a decade before. The camera dances through a shadowy set. Garland, bathed in spotlight, alternately moves with the camera and stands getting lost in the song, and adding wry humor to sweetly sad lyrics. Her quiet sweetness the emotional and cinematic complexity of her song.

Wednesday
Nov162016

Judy by the Numbers: "There's No Business Like Show Business"

Anne Marie has been chronicling Judy Garland's career chronologically through musical numbers...

Sometimes, surprises happen. And sometimes those surprises are planted. I'm referring in this case to both the reappearance of Episode 9 on this series, and the "unplanned" appearance of Ethel Merman on the already-iconic show guest-starring Barbra Streisand. Though Merman's big reveal was first suggested as a way to placate both the surprise guest and her not-so-gracious host. Judy may have originally balked at the idea of her Tea for Two guest skipping the tea for some titanic trilling, but when the producers roped Barbra into the skit as well, it went from a battle of egos to a mammoth moment in musical history.

The Show: The Judy Garland Show Episode 9
The Songwriters: Various, arranged by Mel Torme
The Cast: Judy Garland, Barbra Streisand, The Smothers Brothers, surprise guest Ethel Merman directed by Norman Jewison

The Story: So, here's the thing. I've never been a great lover of Ethel Merman. I understand her importance in the musical canon, and some of the shows written for her rank in my Top 5 Favorite Musicals, but the Hostess with the Mostest tends to leave me cold. But even I am swayed by the sheer power of seeing the three greatest American Belting Broads belting out a song together. It's not even a passing of the torch as the Judy/Liza sketch had been. Instead, this feels very much like three old pros - well, two old pros and one new pro - sizing each other up, celebrating what they see, and cooperating. Though Merman would return later for a proper guest spot, nothing would capture the weird wonder of this trio scene. It's improvised, it's lively, and it's unlike anything else on The Judy Garland Show.