Time Flies is obviously important only for completionists.The special edition has the band's last live performance and a compilation of all the singles' videos. If you put the comments on, you can hear Noel Gallagher recognizing that most of his songs don't make sense, that he hates most of his videos, and that the band should not have recorded Standing on the Shoulder of Giants. Liam also speaks but, as usual, he's completely unintelligible.
Showing posts with label Musical. Show all posts
Showing posts with label Musical. Show all posts
Friday, January 17, 2014
Time Flies 1994-2009 - Oasis
This post was going to be about the relation between Oasis and Britpop on the one hand and Tony Blair's New Labour on the other. But then I realized I already did that before.This book also talks about the same topic.
Time Flies is obviously important only for completionists.The special edition has the band's last live performance and a compilation of all the singles' videos. If you put the comments on, you can hear Noel Gallagher recognizing that most of his songs don't make sense, that he hates most of his videos, and that the band should not have recorded Standing on the Shoulder of Giants. Liam also speaks but, as usual, he's completely unintelligible.
Time Flies is obviously important only for completionists.The special edition has the band's last live performance and a compilation of all the singles' videos. If you put the comments on, you can hear Noel Gallagher recognizing that most of his songs don't make sense, that he hates most of his videos, and that the band should not have recorded Standing on the Shoulder of Giants. Liam also speaks but, as usual, he's completely unintelligible.
Sunday, November 25, 2012
Pete Kelly's Blues - Jack Webb
Pete Kelly's Blues is a terrible movie: the plot is totally discontinuous and has no clear storyline. There are only two things that are worth of the movie: Ella Fitzgerald's cameo, and Peggy Lee's acting and singing, which earned her a Best Supporting Actress Academy Award nomination.
Sunday, November 18, 2012
The Wizard of Oz - Victor Fleming
The Wizard of Oz is one of the most influential movies in History. The amount of money MGM invested in it was huge for the standards of the time, and its special effects are, even today, textbook examples in some film schools.
This is one of the last movies where the acting techniques and dialogues are more theater-like than "pure" movie-like. Given its gigantic proportions, the main contribution of The Wizard of Oz is, in fact, the idea that cameras, color, make-up and scenery are more flexible in movies than in theater.
Between 1959 and 1991, The Wizard of Oz was telecast once a year as a special program. This market-based indoctrination probably explains the cult status the movie has among Pink Floyd fans, who are convinced that there is a mystical connection between The Wizard of Oz and The Dark Side of the Moon; the LGTB community, who have a weird crush with Dorothy (Judy Garland), and Steven Tyler, who sampled the movie for a song about drugs and rehab.
Musicals are scarce these days: they are not very expensive to produce, but audiences have lost the sensibility to appreciate the things that make a good musical: make-up, dances, haircuts. Audiences are not entirely to blame: musicals are cumbersome and slow for today's standards.
In any case, from a studio perspective, it is a safer bet to do a multi-million dollar movie about Batman with fights and special effects, which will be surely loved by at least 50% of the potential audiences (i.e., men), than a musical, which is, after all, a niche production.
The Wizard of Oz is either a good first step to recover the sensibility to like musicals, or the decisive movie to assess if one is fit to watch them.
This is one of the last movies where the acting techniques and dialogues are more theater-like than "pure" movie-like. Given its gigantic proportions, the main contribution of The Wizard of Oz is, in fact, the idea that cameras, color, make-up and scenery are more flexible in movies than in theater.
Between 1959 and 1991, The Wizard of Oz was telecast once a year as a special program. This market-based indoctrination probably explains the cult status the movie has among Pink Floyd fans, who are convinced that there is a mystical connection between The Wizard of Oz and The Dark Side of the Moon; the LGTB community, who have a weird crush with Dorothy (Judy Garland), and Steven Tyler, who sampled the movie for a song about drugs and rehab.
Musicals are scarce these days: they are not very expensive to produce, but audiences have lost the sensibility to appreciate the things that make a good musical: make-up, dances, haircuts. Audiences are not entirely to blame: musicals are cumbersome and slow for today's standards.
In any case, from a studio perspective, it is a safer bet to do a multi-million dollar movie about Batman with fights and special effects, which will be surely loved by at least 50% of the potential audiences (i.e., men), than a musical, which is, after all, a niche production.
The Wizard of Oz is either a good first step to recover the sensibility to like musicals, or the decisive movie to assess if one is fit to watch them.
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