Musical

In a sense, Carlos Saura’s first foray into filming classical dance, Blood Wedding, may be seen, not as a stark departure from the immediacy of his narrative films, but rather, as an oblique return to form towards the social interrogations implicit in his earlier work on the fundamental question of Spanish identity – a particularly timely and relevant re-assessment in the aftermath of a contemporary history marked by institutional repression, creative censorship, and historical revisionism. It is within this framework that the selected adaptation of the seminal “rural trilogy” play by Spanish playwright, Federico García Lorca – a writer who was executed by Falangists in the early days of the Civil War and whose work was generally banned throughout Franco’s regime – seems particularly suited to this post Franco-era cultural introspection in its dark and tragic tale of passion, betrayal, and revenge.
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Jacques Demy followed up The Umbrellas of Cherbourg with another musical about missed connections and second chances, this one a more effervescent confection. Twins Delphine and Solange, a dance instructor and a music teacher (played by real-life sisters Catherine Deneuve and Françoise Dorléac), long for big-city life; when a fair comes through their quiet port town, so does the possibility of escape. With its jazzy Michel Legrand score, pastel paradise of costumes, and divine supporting cast (George Chakiris, Grover Dale, Danielle Darrieux, Michel Piccoli, and Gene Kelly), The Young Girls of Rochefort is a tribute to Hollywood optimism from sixties French cinema’s preeminent dreamer.
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After Flamenco (1995) and Tango (1998) – nominated for the Academy Award for Best Foreign Language Film, in 2005 Carlos Saura completes his trilogy on modern urban song with Fados. After over two years of research into the subject, Carlos Saura takes an enormous step forward in his approximation to music. If, in his earlier musicals, Iberia, Flamenco, Tango…, he based his work on dancing, in Fados he makes a special effort with the plot and image to reflect the birth of a suburban, dockland music which is in itself a synthesis of all of the music born towards the end of the 19th century.
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Kalu is a taxi-driver in Bombay, India. He has two women who love him and would like to marry him. Kalu first wants to establish himself, and become rich, before he can even think of marriage. One of the women who loves him, has a father who is involved in gangster-type activities, and would like Kalu also to join him so that he can get rich soon. Kalu has now to decide to become rich quick or sleep better.
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‘Yellow Earth’ focuses on the story of a communist soldier who is sent to the countryside to collect folk songs for the Communist Revolution. There he stays with a peasant family and learns that the happy songs he was sent to collect do not exist; the songs he finds are about hardship and suffering. He returns to the army, but promises to come back for the young girl, Cuiqiao, who has been spell-bound by his talk of the freedom women have under communist rule and who wants to join the Communist Army.
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In 1924, young Cheng Dieyi (Leslie Cheung) begins training at the Beijing Opera House at the same time as Duan Xiaolou (Fengyi Zhang). Cheng specializes in playing female parts, often against Duan’s commanding male leads. While pretending to be in love with Duan onstage, Cheng begins to develop actual romantic feelings for his co-star, which are not reciprocated. Over the next 50 years, the two men maintain a complicated friendship as China undergoes turbulent changes.
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Musical version of the story in which Dr. Henry Jekyll experiments with scientific means of revealing the hidden, dark side of man and releases a murderer from within himself.
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Rich playboy Drogo Gaines is in imminent danger of marrying a gold digger, and escapes by feigning insanity. The joke’s on him when he wakes up in an asylum full of comical lunatics. There he befriends Colonel Carraway, and together they escape, catching a ride with a beautiful blonde who proves to be Penguin Moore, carnival owner. The adventures of Drogo and the Colonel with Moore’s Carnival are replete with Hal Roach slapstick.
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Donna (Del Rio) is a diva of the stage and wants her lover Rico (Alvarado) as her leading man. To keep this from happening, the producers (Churchill, Cavanaugh) grab Roger Kerry (Marshall) off the street and say he has a contract. Donna and Roger butt heads, he’s replaced by Rico, and Donna’s play flops. While her fame flops, Roger rises as a huge radio star. The two eventually fall in love, and Roger wants both of them to leave their careers behind.
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Cathy Mallory, beautiful socialite who prefers classical music, is taken by friends to a back-alley dance club. There, she meets blind pianist Dan Evans, who plays in Chick Morgan’s swing band but seems to be a composer of great promise. Attracted but spurned, Cathy feigns blindness herself to get past Dan’s bitter facade, scheming to get him to the doctor who can restore his sight…and to Carnegie Hall. But her actions bring about several twists in their relationship…
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U. S. Marshal Ted Cameron (Kirby Grant), masquerading as a bandit, robs a mail coach. Delores Mendoza (Armida), a passenger, is an agent for the Mexican government, assigned to investigate a counterfeiting and smuggling gang operating below the border. She joins forces with Ted and his sidekick, Rockabye Jones (Fuzzy Knight), and together they expose the gang and bring them to justice.
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Eleven separate vignettes are presented. In each, celebrities, playing semi-fictionalized versions of themselves (with the exception of the characters of various wait staff, and one actor playing a lookalike cousin of herself), meet in a food service establishment with coffee/tea and cigarettes involved. Beyond the topic of discussion that brought them together, they often talk directly about coffee and cigarettes, more often that coffee and cigarettes, and by association caffeine and nicotine, are not healthy, especially if they are the only things constituting lunch. Other recurring themes include the Lee family, cousinhood, celebrity worship, the connection between the medical and musical careers, and Nikola Tesla’s belief that the Earth is a conductor of acoustic resonance. In all cases, the coming together for coffee/tea and smokes acts as a bridge to overcome disagreements, and/or makes uncomfortable situations less uncomfortable.
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Tal is in a lot of trouble. Seems that his father has been murdered while he was in Montana and they put the blame on him. Also, he has been framed and sentenced to 10 years hard labor for another murder which he did not do. The crooks need convict labor to build the dam so they convict innocent people for a pool of cheap labor. But Karan believes that Tal, using the name Smith J. Brown, could not be a killer. Unknown to her, her step brother, Hub, is part of the gang.
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In Philadelphia, the soprano Prudence Budell returns from Europe after a period of five years training in the best Europeans music schools. Her millionaire grandmother Abigail Trent Budell sponsors an opera company under the command of the famous maestro Jose Iturbi to give a chance to Prudence to lead an opera. They hire the also famous tenor Guido Russino Betelli, but Prudence does not feel comfortable with him on the stage. When Prudence accidentally sees the American-Italian truck driver Johnny Donnetti singing opera, she convinces Jose Iturbi to give a chance to Johnny. They fall in love for each other, but when Prudence visits his work to tell that he will be hired, she meets Mary and she believes Johnny is in love of his colleague.
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Vienna glove-sales-lady Christl falls in love to Czar Alexander. Metternich tries to use this to keep him out of the conferences of the Vienna Congress from 1815.
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