Acters i th c irector took the romantic musjcal to

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acters i~ Th c Irec.tor took the romantiC musJcal to extremes by having his char- dozelonsboofthp:bs;;k~~~ j~:~~·d~;{n~~~~deo~~~~~r~s~~:: it;~h~i~~~~-~ ~~r~:~s fi(~~S)with ac stage an straight · 1 h · romance. Often the hero and he•o?JUSica,~, t e numbers are often associated with ' me rea IZe that they form th ..., · couple because they perform beautifull h . e peuect romantiC the Ginger Rogers character sheds h Y. t?get er. TillS happens in Top Hat when the "Isn't It a Wonderful Day" num~r ongmal annoyance WJth Fred Astaire during love. This plot device has remained cr. a~d br the end. they have clearly fallen in reluctant partner, this ti~c Cyd Ch a. stap.e 0 t~; gen~e. ~staire again charms his The Ba d w,; ansse. m the Dancmg m the Dark" number in dance fl:or ~g~:t~~~~~)N~;~rJ;;v:;r~volta meets hi~ romantic match on the disco each other both onstarre and off .~ 9 i?) .. In Moulm Rouge.' the lovers serenade dance inte;Judes in thtHouse Pa~ryw 1 ~ ~ssflc pop and rock son.gs (9.19), and the senes o ten become courtsh 1 p rituals. The citizens of a whole town are drown into the dunce in The Young Girls of Rochefort. Three Genres 333 9 .1 7 R~by Keeler hoofs her wny to stnrdom m 42nd Streer's title number.
334 CHAPTER 9 Film Genres 9.19 . . M {' R el centers on the rnpturous lovers. A flamboyant onstage musJCUI number m ou m oug · Musicals have Ion; be1~ ass~i~~~~hw~a~:i~~~:t:~o;~~~:~~~o:~:i:~~:fc1r Oz to recent films sue as 1 0 a . ·, White and the Seven Dwarfs. But numbers, a practice going back to Dtsney s S~ow en tragic material. Wesr Side adult-oriented musicals have taken i~~l so~o:;~se:thnic lin~s. and Pennies f~m ~:~e~~~~ess :h~ 0 b%:~c:t~~:p~:;~?f ~e D?re~~~;~~;o~~;h c~ara~;ss;!~ 1 :h~ synch to recordings from that era. wptcs o pe . 1 · b amber backstage mustca s. Blues, Ray, and Walk the Ltne, ~o~e s fil may explore the darker side of hu- man S~~~~~~~~:w:~~t~~~~ls ~~n~~~d'a 1 cc~ntua: ~~t~~~~i:~~:~~ ~~~~~~~~ are rewarded when the show is a hn. an overs a the union and manage- The Pajama Game, a strike is averted when the lca~e~~~s han on today. School ment become a romantic couple. Somei~~~~~e~e:: t~~t talent a~d hard work will of Rock reco~firms the backstag~ :~s 8 Mile follows the traditional plot pattern eventually wm out. Even the gntt . d" advantacres and finding success. showing a gifted young perform~r over~o~m.g s~s broad that it may be hard to pin The range of subject matter :n musJ~a s rs r Yet the backstage musical at down specific iconography associated With t~e gen e. d win s of a theater, the least had its characteristic settings: .th; ~~s~~:g n~~~~~u~n with o~chestra and dance flats and backdrops of the st~ge (as m · . ' 1 often recognizable by their dis- floor. Similarly, performers :n these musrc;;c~r~staire wore the most famous top tinctive stage costumes. Dunng ~he 193 ~s~ d with his musicals that the beginning hat in the cinema. a hat so close~ ass~cJa e h d up movie actor---could make of The Band Wagon-where Astrure Pays a w~s e - · h p, er became an a joke about it. Similarly, Travol~~ 's ~bite sui~:n ~:~~r:~~:~g b~enevpresent in the icon of the disco era. Opport.umtJes or nove _Y t t '"'' (The Pajama Game) or musical, however, as the musJcal numbers set m a ac o." in the prairie (Oklahoma) in~icate. .

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