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While both-1 - Siciliano Jessica Siciliano English 101-008...

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Siciliano Jessica Siciliano English 101-008 Compare and Contrast November 1, 2007 It’s All About the Showstopper: Analyzing the Structure of “The Broadway Ballet” Set in 1927, Singin’ in the Rain retells the story of Hollywood’s rocky transition from silent films to “talkies.” Protagonist and antagonist Don Lockwood and Lina Lamont make up a famous romantic couple and the darlings of the silver screen. As the studio realizes that silent films are being left in the dust by talking pictures, they make plans to turn their newest film, The Deuling Cavalier , into a musical starring their dynamic duo Lockwood and Lamont. The transition, however, is halted when Lina’s beauty does not transfer to sound because of her shrill voice and boorish accent. The studio hires Kathy Selden to dub over Lina’s voice and save the picture. While working on the film Lockwood falls in love with the young starlet, only adding to the antics of the jealous Lamont who threatens to ruin Kathy’s career. The usually light-hearted tendency of the film is interrupted by a fourteen-minute dance number titled “The Broadway Ballet.” Marilyn Ewing in “’Gotta Dance’ Structure, Corruption, and Syphilis in Singin’ in the Rain , and Stephen Cohan in “Case Study: Interpreting Singin’ in the Rain” both analyze the big musical production in terms of the time period in which it was set and the theme of the film in its entirety. The number begins with Gene Kelly as Don Lockwood singing “Broadway Melody” against a background of casino and theater marquees. It then shifts to another character, this time an unknown dancer portraying Kelly, played by Lockwood. The hoofer arrives in New
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Siciliano 2 York City with hopes of stardom as he dances for different talent agents, both of which reject him. He is received by the third agent and, as Ewing puts it, “descends into the underground of illegal establishment” (13). There, the dancer is seduced by a gun moll at which time they perform an erotic dance that contradicts the airy dance numbers in the rest of the film. At the end of the dance the woman’s boyfriend lures her back to him with a diamond bracelet while he and his two bodyguards are flipping coins as the hoofer leaves the bar(13).
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