Re: [a_film_by] Re: A little factual Minnelli/Stuart Byron question
- joe_mcelhaney wrote:
>However, I wonder, Fred, if you're not thinking of Paul Mayersberg'sNo, I'm sure Byron talked about freedom and Minnelli, unless my brain is
>essays on Preminger
completely fried. I don't think it is: I'm one of those people who
wasn't really "there" in the 60s (as in "If you can remember the 60s,
you weren't really there"), so I'm hoping my memory is still OK. Byron
correctly identified freedom with spatial depth at the ends of "Some
Came Running" and "Home From the Hill," I believe, but then used the
same kind of equation to wax over-enthusiastic about the (to my mind,
too schematic visually) ending of "On a Clear Day."
But while I can't remember if he talks about this scene, I think his
formulation is extremely useful for (for example) considering the
relationship of the Halloween sequence (by far the best part of the
film, in my view) in "Meet Me in St. Louis" to the whole.
- I believe this was a collaboration. Walters always
worked close-in with his performers on their
moves.This si the way the number starts, but when it
breaks out into larger pattersn -- particularly the
great track over the counter as ice cream sodas are
lined up in the foreground with the dangers in the
background, Alton comes into play. "The Varsity Drag"
is all his. "The French Lesson" is all Walters.
--- Dan Sallitt <sallitt@...> wrote:
> > I quickly did a bit of research of my own since I__________________________________
> posted that note
> > and Walters has claimed that he left the
> production numbers on GOOD
> > NEWS and EASTER PARADE to Alton and that he
> concentrated on the more
> > intimate numbers (a bit like Hawks on BLONDES).
> But didn't Walters do the "Pass the Peace Pipe" song
> in GOOD NEWS, which
> is a pretty big number? That's probably what most
> people remember about
> the movie first. - Dan
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