The Lounge: Discussion+ReviewFor discussion and debate about arts, movies+TV, music, reading+literature, style, fashion, history, culture and many more subjects
A “realistic” musical. Meaning, one where characters do not unrealistically break out into song - like in Oklahoma! or West Side Story. The musical aspects of the film must be realistically motivated by the plot.
I felt this was one of the more challenging categories. I don't know if I've seen many musicals where the musical numbers are organic. Blues Brothers certainly fits the bill in my opinion of a realistic musical.
This could also have been used for the "car" catergroy with the blues mobile. The mall chase scene is a memorable piece of film history.
Overall, I love this movie. Tons of songs, big laughs, a decent story about looking for redemption. Belushi and Aykroyd kill it and the slew of actual musicians who play roles in this movie is crazy.
My DVD for this movie has 20 songs performed by the Blues Brothers Band. I think this movie is a good selection for the realistic musical category.
-----------------
Rd 1, #13: SPEED (1994), movie about a car
Rd 2, #3: BLUES BROTHERS (1980), realistic musical
So how do you explain Aretha signing Respect in the diner as realistic? The Ray Charles scene works because Ray is proving the organ still works fine. But Aretha...not so much.
Guys, I know this is a tough category, but you have to be creative with your write-ups and defenses.
So how do you explain Aretha signing Respect in the diner as realistic? The Ray Charles scene works because Ray is proving the organ still works fine. But Aretha...not so much.
Guys, I know this is a tough category, but you have to be creative with your write-ups and defenses.
The majority of musical numbers in Blues Brothers are not spontaneous. They are performances that are called for based on the narrative. Because, the movie is also a comedy, there is obviously some spontaneity. But, there is very little "...unrealistic breaking out into song..."
Also, the Blues Brothers Band is a real band (Belushi, Aykroyd, and others are musicians and actors ) and they perform in this movie along with many other real musicians.
I think Blues Brothers is a realistic musical. When compared to your examples of unrealistic musicals in the parameters, I think it's clear that Blues Brothers is more realistic than West Side Story and Oklahoma and a totally different and more grounded narrative structure than most musicals.
Last edited by Bo Goldman; 07-16-2012 at 02:19 AM.
The majority of musical numbers in Blues Brothers are not spontaneous. They are performances that are called for based on the narrative. Because, the movie is also a comedy, there is obviously some spontaneity. But, there is very little "...unrealistic breaking out into song..."
Also, the Blues Brothers Band is a real band (Belushi, Aykroyd, and others are musicians and actors ) and they perform in this movie along with many other real musicians.
I think Blues Brothers is a realistic musical. The songs come about because the story calls for them to perform.
I agree with you except for the diner scene with Aretha Franklin. How do you defend it?
You'll have to try again or convince me why I should let the pick stand. I can think of an argument that I would agree with, btw.
Dom,
The story is essentially a tragic love story, in essence, high drama, therefore "realistic" in every sense--or as "realistic" as love stories are in film. But it is not a musical in the same sense as a standard musical in which all sorts of people break out into song and dance whenever the mood strikes. So once you accept its basic premise that all the dialogue will be sung, you are caught up in that quite realistic world in which the narrative still takes precedence over the music.
The story is essentially a tragic love story, in essence, high drama, therefore "realistic" in every sense--or as "realistic" as love stories are in film. But it is not a musical in the same sense as a standard musical in which all sorts of people break out into song and dance whenever the mood strikes. So once you accept its basic premise that all the dialogue will be sung, you are caught up in that quite realistic world in which the narrative still takes precedence over the music.
Okay, this is what I wanted. If you're going to make idiosyncratic choices, I want explanations!
I accept this pick because the whole movie is sung; thus being a realistic depiction in that film's universe.
In Kubrick's brilliant adaptation of the Anthony Burgess novel, Alex DeLarge lives for two things: beating the living bejesus out of people, and the music of the lovely, lovely Ludwig Van.
The music in this film serves several purposes. From a strictly aesthetic standpoint, it serves as any soundtrack would: to heighten or reinforce a mood or point. In this case, however, it becomes a part of the general sensory onslaught, turning the most violent scenes into stylized ballet, and the most banal scenes into revelations.
Music, in ACO, speaks for all art, as the defining characteristic for the transcendent act that lifts life out of mere Darwinian process, and into a more sacred realm. Alex may get some kind of twisted primal joy from the violent acts he commits, but they are carnal acts, gross manifestations of the survival game that must be played in order to exist. Only in music does he find tranquility and sense, and even then, it manifests itself in visual images of violence and misery. In music, he hears a world he cannot quite inhabit, so he is forced to take earthier pleasures in...well..kicking the sh*t out of people.
In Alex's mind, he is living in a musical. The music that is being played in the background is the music he is hearing in his head. When the music is taken from him, it empties him completely, turning him into the item that is the film's title.
The movie reaches for a lot, and grabs pretty much all of it. Like all great art, it reinforces the necessity of experiencing all aspects of the human experience, not just the rainbows and unicorns.
The music today sounds dated and cartoonish, but still has a compelling quality. It was reocorded by Walter Carlos, and was one of the earliest entries into mainstream music that featured primarily synthesizers. For the time, it sounded revolutionary. Now, it sounds like Epcot on acid, which only reinforces the surreal nature of the film.
It also suggests a difference between "serious music" and pop music. When Alex and his crew attack the couple in their suburban home, he is whistling and singing "Singin' in the Rain", a pop song for baser acts. Also, a classical aficianado using such a pop song sugegests a comment on the banality of suburban life. For Alex, such a distinction rationalizes his violent choices. His brutality is, to him, a defensive artistic statement.
It's a brilliant movie, but one that simply cannot be divorced from the music without losing it's impact. The very concept of music drives the protagonist. And the only time he steps into a song and dance, it's not a fantastic suspension of belief or magical moment. It's realistic, and terrifying.
I had The Blues Brothers penciled in for my car movie pick since the bluesmobile is such an integral part of the movie. When it finally collapses Elwood even removes his hat in respect to a fallen comrade.
But this is a fairly wide open catagory and I already have a few other ideas. I'm thinking I will make it through this draft with very minimal sniping.
A “realistic” musical
Meaning, one where characters do not unrealistically break out into song - like in Oklahoma! or West Side Story. The musical aspects of the film must be realistically motivated by the plot.
is another 'goofy' category, for which there are barely any good movies for... ( I don't really buy A Clockwork Orange being a musical...)
Might as well pick the best one available..
Round 2, Pick 4
A Star Is Born
Directed by George Cukor, starring Judy Garland and James Mason, this musical was made at a time when the genre was at its peak form. Unlike many other musicals though, in this one, the songs are careful and realistically worked into the plot (people sing when they give performances, or when they are asked to sing). Cukor’s style works great at depicting all the bygone Hollywood glamor. Garland might not be in her top shape in this movie, but still she performs with tremendous feel and vitality. Garland’s performance is solid; lot's of solid jazzy songs and awesome playful numbers. Mason is solid, and some scenes get pretty dramatic, despite a big chunk of the movie being in a lighter mood. It is pretty long, but always fun and moves at a very nice pace. Seems extremely modern too, like it was shot just recently. Stylish, yet very sophisticated
The Wages of Fear - Car A Star Is Born (1954) - Musical
Two Plus Two
Linear Mode
