- ... If you think the Halloween sequence is by far the best part of the film , no matter how good it is, then I don t think you think it s such a good film,Message 1 of 44 , Jan 1, 2004View Source--- In email@example.com, Fred Camper <f@f...> wrote:
>If you think the Halloween sequence is "by far the best part of
> 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.
> - Fred
the film", no matter how good it is, then I don't think you think
it's such a good film, because it is a great film independently of
its set pieces like the Halloween sequence (or the Trolley song)and
you seem to me to be saying the opposite.
- 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 outMessage 44 of 44 , Jan 25, 2004View SourceI 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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