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Little Shop of Horrors has a somewhat lengthy history of multiple adaptations. The first iteration of the story was the 1960 film The Little Shop of Horrors, with a screenplay inspired by science fiction stories of the 1950s. Then, the movie was adapted into an off-Broadway musical in 1982. In 1986, the popular musical was adapted into the high camp, soon to be cult-classic movie musical Little Shop of Horrors, directed by Frank Oz, whose experience in creating and puppeteering The Muppets would lend itself to Little Shop's impressive Audrey II puppets.

Three teen girls who live on Skid Row, Crystal, Ronette, and Chiffon, introduce and narrate the events of the film.

Seymour and Audrey are both struggling to make ends meet, and work at Mr. Mushnik's failing flower shop on Skid Row. Seymour, who has a hobby of collecting exotic plants, brings a mysterious plant to the shop, Audrey II, which draws in customers and gives the shop a fighting chance at staying in business. As the plant begins to make Seymour more popular and successful, he discovers that the only thing that he can feed the plant to make it grow is human blood. (Also it can talk and sing.) Meanwhile, Audrey's abusively masochistic dentist boyfriend Orin becomes more and more insidious towards her, making him into the perfect candidate for Audrey II's first victim...

Aesthetic Markers of Class, Race, and "Bootstraps" Myths Through Song

Though Oz's film is still set in the 1960s when its source film was made and generally parodies conventions of '60s B-movies, it is clearly influenced by the politics of the 1980s, when it was made. I will read Oz's Little Shop alongside two specific events: The Reagan Administration and the Second-wave Feminist movement.

Let's close read the musical number "Skid Row" to see how formal and stylistic elements enhance racial difference and enforce the "Pull yourself up by the bootstraps" rhetoric that became popular during the Reagan era as a way to justify and distract from the growing economic disparities in America.

Though the three narrators provide a segue into the song by exclaiming that there is no chance of "bettering ourselves" on Skid Row, Audrey and Seymour end the song determined to get out of their situations. They are notably the only two people in this ensemble number to sing about getting out of Skid Row, looking up towards the sky as the song ends while the rest of the cast looks down. Several other stylistic markers set Audrey and Seymour apart throughout the song, such as the bright lighting on only them, their brighter clothes/hair in comparison to everyone else's dull attire, and even the slower tempo and more gentle style of singing during their verses.

While Seymour and Audrey's economic status makes them "Othered" protagonists (much like Eliza Dolittle in Ray's analysis of My Fair Lady), the formal elements of this number serve to further Otherize people of color. It is important to consider Seymour and Audrey's whiteness in comparison to the ensemble, which consists of many Black performers. With these two white characters as the only ones to sing about wanting to get out of Skid Row while the others do not, the film contributes racist capitalist narratives that one's economic status is a "choice." This is further supported by the fact that the rest of the ensemble of this number rarely shows up throughout the rest of the film. Their only purpose is to foil the protagonists' strife, making the audience feel as though they are rooting for the "little guy" or the "Other" at the expense of another, racialized Other.

However, the narrative that continues after this song seems to subvert and rework this very same myth of finding economic success through the exploitation of The Other.

After finding out that Audrey II feeds on human flesh and blood, the meek and good-natured Seymour struggles to see anyone as "deserving" of death. That is, until Audrey II directs him towards Audrey's abusive boyfriend Orin. Fast forward a bit, and Seymour later feeds his boss, Mr. Mushnik, to Audrey II. The death of both these characters promote Audrey II's growth, which increases the attention it gets from the media and therefore brings Seymour more wealth.

Since the film dips into conventions of Sci-Fi and monster movies, it is expected that those who are killed for financial gain are bodies which have been marked as disposable or lesser. However, the victims in this film, a horribly misogynistic man with a good career and a boss who disregards the well-being of his workers, could easily be construed as heroes in other films. In this film, Seymour and Audrey II flip the narrative of violent exploitation, fighting against oppressive figures in order to succeed in the very capitalist system which they help promote.

Complicating Femininity Through Race and Class

 Ray writes of My Fair Lady as indicating what it means to properly "be" a woman through a rags to riches transformation. Little Shop sets up the perfect foundation for such a transformation to occur to Audrey, who defies any notions of demure, proper womanhood with her "trashy" style and nasally voice. This physical transformation never happens, though, and Audrey's femininity or womanhood are never in question.

Instead, Audrey undergoes an internal transformation through the film's exploration of domestic abuse, which seems to be informed by a heightened awareness of the issue thanks to the advancements of the Second Wave Feminist movement. I find that the film handles this issue surprisingly well, with Audrey experiencing symptoms of abuse in a way that is very realistic, and she is never treated as a source of blame for the abuse Orin subjects her to. When Orin's death frees her of her circumstances, she regains a sense of autonomy and self-confidence.

Audrey's "I want" song, "Somewhere That's Green," also handles contentious aspects of womanhood in a way which considers economic class. In this song, Audrey sings that her biggest dream in life is to live in a comfortable suburban home married to Seymour. While the Second Wave Feminist movement fought against the designation of women as housewives, such a lifestyle would be a privilege to Audrey in her current economic state.

However, the film's three narrators are not given the same complex characterization. Ray writes of the "transgressive inner voice" of female musical protagonists as something progressive and empowering. The three narrators in Little Shop are basically only their voices (and they out-sing everyone else in the cast tbh), existing as an omnipotent presence that is only partially connected to the world of the film. Though the film definitely showcases their vocal talent and charm, they are reduced to an accessory with the sole purpose of narrating white stories.

Two Endings

The film's original ending followed the ending of the stage musical. In this version, Audrey II kills both Audrey and Seymour. Businessmen take cuttings of Audrey II and sell it across the country, accidentally creating an army of Audrey IIs that take over the US.

After two test screenings which left audiences uncomfortable and speechless, Oz filmed a new ending before the wider release of the film. In this new conclusion, Audrey and Seymour survive, kill Audrey II and live happily ever after.

Discussion Questions!

Does camp and the tone of movie musicals make it easier to include anti-capitalist themes and narrative points? Might the film have been made and widely released if the same themes were conveyed in a more "serious" manner?

What is the significance of Audrey II being a plant, as opposed to another kind of being? Could there be an environmentalist reading of the film?

Why do you think the darker ending was successful in the stage musical, but made audiences of the film adaptation uncomfortable? Do stage plays and films evoke different expectations?

Into the Woods (2014), directed by Rob Marshall, is a musical film based on the 1987 Broadway musical. The original musical was created by James Lapine and Stephen Sondheim. The film follows the journey of the Baker and his Wife as they attempt to break a curse placed upon them by a vengeful witch. The curse prevents them from having a child due to a past misdeed by the Baker's father. To lift the curse, the Witch tasks them with retrieving specific items: a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold.

The storyline is inspired by various fairy tales, including those of the Grimm Brothers and Charles Perrault, such as "Little Red Riding Hood," "Cinderella," "Jack and the Beanstalk," and "Rapunzel." Throughout the film, these fairy tale elements intertwine as the characters navigate their quests and confront the consequences of their actions.

Deconstruction of Fairy Tales

Interwoven Storylines

Rather than telling each fairy tale separately, the film intertwines multiple stories into one cohesive narrative. Characters from different tales cross paths and their individual quests become interconnected.

Musical Number: "I Wish" This musical number highlights the interconnectedness of the characters' storylines and desires. Despite coming from different backgrounds and facing different challenges, the characters' wishes ultimately converge, driving them to join forces and embark on a shared quest into the woods.

Consequences Beyond Happy Endings

In traditional fairy tales, the story often ends with a "happily ever after" once the main conflict is resolved. However, "Into the Woods" explores what happens after the characters achieve their goals. It delves into the complexities of life after the fairy tale ending, showing that achieving one's desires may lead to unforeseen consequences and challenges.

The film deconstructs typical fairy tale tropes by challenging the notion of black-and-white morality. Characters are faced with moral dilemmas, and their choices are not always clear-cut.

Musical Number: "Your Fault" The characters engage in a blame game, each deflecting responsibility onto the others for the predicament they are in. The Baker blames Jack for stealing from the Giant, Jack blames Little Red Riding Hood for encouraging him to climb the beanstalk, and the Baker blames the Witch for cursing him, and so on. This exploration of blame and accountability challenges the traditional fairy tale trope of clear-cut heroes and villains, instead emphasizing the complexity of human nature and the shades of gray inherent in moral decision-making.

Representation of Feminity:

Empowerment and Agency

The film features strong and empowered female characters who defy traditional gender roles. Characters like Cinderella and Little Red Riding Hood assert agency and independence as they navigate their own quests and make decisions that shape their destinies.

Musical Number: "On the Steps of the Palace" While the traditional fairy tale of Cinderella focuses primarily on external events and actions, in "Into the Woods," Cinderella faces an internal conflict and decision-making process. Cinderella wrestles with her emotions and considers the consequences of her choices. She must decide whether to return to the prince and risk facing the challenges of palace life or to leave her slipper behind and return to her ordinary life.   She actively participates in shaping her own destiny, rather than passively waiting for a prince to rescue her. This shift empowers Cinderella as a proactive protagonist who takes control of her own narrative, subverting the passive damsel-in-distress trope often associated with traditional fairy tales.

Musical Number: "I Know Things Now" In the traditional fairy tale, Little Red Riding Hood is often portrayed as a naive and innocent young girl who is easily deceived by the Big Bad Wolf. However, in "Into the Woods," Little Red Riding Hood is given more agency and complexity as a character. She is depicted as a resourceful and adventurous young girl who is capable of taking care of herself. Throughout the story, Little Red Riding Hood demonstrates resilience, courage, and intelligence as she navigates the dangers of the woods.

Rapunzel asserts her agency and independence by defying the Witch's attempts to control her. She actively seeks freedom from the tower and ultimately takes control of her own destiny by leaving the Witch's care. This portrayal challenges traditional depictions of women as passive and submissive, showing Rapunzel as a proactive and assertive character.

She saves her "Prince Charming" by reversing a curse that the evil witch set upon him that blinded him. Instead of waiting to be rescued or relying on others for help, she takes proactive action to assist someone in need. This portrayal challenges the traditional notion of women as passive damsels in distress and highlights Rapunzel's autonomy and self-reliance.

Representations of Masculinity

Redefined Notions of Heroism

Musical Number: "Agony" Unlike the confident and flawless prince often depicted in traditional fairy tales, the prince charming in "Into the Woods" exhibits vulnerability and insecurity. They struggle with feelings of dissatisfaction and emptiness in their relationship with Cinderella and Rapunzel, leading them to seek validation and fulfillment elsewhere. This portrayal challenges the traditional image of the prince as a flawless hero and instead presents a more multidimensional character. They are depicted as being extremely self-obsessed, superficial, and prone to objectifying women. They pursue Cinderella and Rapunzel primarily based on their physical appearances and statuses, rather than genuine love or connection. This portrayal critiques traditional fairy tale tropes that prioritize surface-level attributes and reinforces the idea that true love is based on mutual respect and understanding.

Overall, Into the Woods (2014) offers a more nuanced exploration of gender roles and identities, presenting characters who defy traditional expectations and stereotypes. By introducing flawed and relatable protagonists, the film challenges viewers to reconsider their perceptions of femininity and masculinity, ultimately contributing to a more inclusive and diverse representation of gender in fairy tale storytelling.

Discussion Questions 1. Discuss the use of humor and satire in "Little Shop of Horrors." How does the film poke fun at American consumerism and the American Dream? 2. "Bedknobs and Broomsticks" is based on a series of children's books by Mary Norton. How does the film adaptation compare to the source material? What changes were made, and how do they affect the story? 3. What elements of the film remain relevant, and how does it continue to captivate new generations of viewers?

How is the film related to the social context of the country during the film’s production?  

This film was released January first of 1962 at the start of the second wave feminist movement. Some of the second wave feminist movement’s concerns were unequal pay, employment discrimination, and issues of rape and domestic violence. It also urged a more general break from suburban life and rejection of the idea that women belong solely in the home. These ideas are evident in the film which places women at the heart of its story. More specifically, an extremely determined, complicated, authoritative, decisive, and passionate, unmarried woman. Her two daughters also display a sense of autonomy and conviction, aware of the role they play in providing their family with income by working at a very young age.

1962 was also in the midst of the civil rights movement, counterculture movement, and the Vietnam war. The film casts almost no people of color except for minor, tokenized roles. The musical itself is set in the early 1920s and documents the popularity and eventual death of vaudeville by the great depression. This musical’s depiction of the depression seems to call for national solidarity while its 1960s audience is spearheading the tumultuous and divisive counterculture movement.

In what ways are the performance spaces separated from the narrative spaces in the film?

Performance spaces are separated from narrative spaces with set design. Performance spaces are designated to a stage and take on the “performance within a performance” format where an implied audience is present and sets are colorful and extravagant. Narrative spaces are often more realistic looking in the film. Dreary, worn, and polluted. These narrative spaces are highly contrasted by the vibrant and showy sets, stages and costumes. These differences play a key role in the film's plot and tone. They show that the life Mama Rose creates for herself, her children, and Herbie is exhausting and difficult. Everything seems to be used up to fuel Rose's fantasy of fame and performance.

Narrative Space

Performance Space (00:38)

How is spectacle integrated into the film’s narrative? 

Spectacle is the film’s narrative. The plot depicts a pursuit of spectacle, through spectacle. Whoever dictates performance–who gets to perform, when and how– has the power. Louise and June are forced into performance by their mother and she determines who becomes a spectacle and how–forcing June to act young, forcing Louise to dress like a boy. Big producers and higher-ups in the industry however hold power over Mama Rose. This is seen in the musical number “Mr Goldstone” for example. At the end of the film, when Louise becomes Gypsy Rose Lee, she makes her own costumes and decides her own numbers. This transfer in “control over spectacle” is made evident by Rose’s frightened, angry, and heartbroken reaction to her daughter’s control and autonomy.

What is the role of dance and movement in relation to the film’s narrative and spectacle?

Repeated choreography helps to emphasize the overworked, overplayed nature of Mama Rose’s productions. The same choreography plays over the same musical cues over and over which helps the energetic numbers to read as sad and desperate rather than entertaining and lighthearted. Choreography also shifts to show the passage of time and changes in the character’s aspirations. For example, when Gypsy Rose Lee performs at the end of the film, her choreography references the type of spectacle she used to perform with her sister when they were young. This reference now that Gypsy Rose Lee performs at a burlesque club emphasizes the complicated and initially depressing trajectory of her career.

In what ways does impossibility within the film ensure the audience escapes from reality?

Time jumps and montages help the audience to escape from reality into Gypsy Rose Lee’s success. In the film, her slow rise to fame seems more immediate and satisfying. Similar to the structure of Show Boat, Gypsy shows most of the characters’ lives, from childhood to adulthood. The narrative’s treatment of time allows for impossible jumps that cut right right to action and conflict and eventually success. This allows the audience to escape from reality and be “told a story”. Rose’s voiceover narration is another impossible element that contributes to this storybook escape for the audience. 

Bonus Video :)

Questions

Do you notice shifts in color palate in your film or other elements related to spectacle? What do these changes tell the audience about the narrative?

Is dance and choreography gendered within the film? If so, how?

Christina Aguilera - Express (Burlesque)

How is the film related to the social context of the country during production?

When the musical Burlesque was released in 2010 the United States was still recovering from the financial crisis of 2008. This global economic downturn significantly impacted various industries, even the entertainment business, which suffered from the rapid decline of consumer spending. Burlesque's central narrative is rooted in themes of chasing dreams and finding success despite difficult circumstances which naturally resonated with audiences when the film was released. Along with this, the emphasis of female empowerment and solidarity grew even more culturally significant in 2010 when the discussion surrounding gender equality and women’s rights was rapidly gaining momentum. The establishment of International Women's Day and the creation of the global UN Women's Agency occurred in 2010 during this heightened period of global activism. Burlesque’s main character Ali leaves her small-town life behind to chase her dreams of becoming a star in Los Angeles. Her relationships with the other female characters in the film are ones of sisterhood and community even after feuds and rivalries because the community is a grounding force in the performances. Another crucial part of the narrative is Tess' fight to keep her theatre from being turned into a condo, playing into economic disparity between the wealthy and the working, highlighting other culturally relevant notions permeating society in 2010. Urban gentrification and redevelopment projects massively underwent in several large cities including Los Angeles which lead to an upturn of displaced business and residents to make room for office buildings, parking structures, and housing developments, like condos.

When it comes to Burlesque as a genre itself, however, it is a reflection of the social context of the time in which it is produced. In the 20th century burlesque was often a form of escapism during extreme periods of social and economic hardship like the Great Depression.

These shows portrayed performers through humorous themes and utilized social commentary that was specifically relevant to that era. Dances and shows would reflect on changing attitudes towards gender, sexuality, and societal norms which offered a space for expression that was not accessible to mainstream society. 

Shows in the Progressive Era (early 19th to 20th centuries) were often satirical of political figures, social norms, and cultural trends. They often involved comedic sketches and musical numbers that parodied current events, public figures, and politicians. Focusing on Los Angeles specifically in 1990s, the Velvet Hammer Burlesque was known for an avant-garde style that blended traditional elements with prevalent social commentary. These shows revolved around themes such as gender roles, sexuality, and body image, all challenging societal expectations and norms.

Burlesque is a time where the audience can sit back and watch while the performers can exist in an entirely different world that actively operates to critique the state of the current world through song and dance.

In what ways are the performance spaces separated from the narrative spaces in the film?

Unlike other musicals, the numbers within Burlesque do not drive the plot forward in a contemporary sense but rather embody a more internal and emotional significance for the character’s development throughout the films: they are just performances which physically mirror the emotional perseverance of each character. Ali's performances relate to the central message of the film rather than the moments that make it up. She performs because she needs to be on stage. And Tess, the owner of the club, performs because she needs to save the stage so the show can go on. Her song "You Haven't Seen the Last of Me" is more profound and deeply reflective of her journey with the business and what it means if it goes away. For her the performing was never her reason for keeping the place running, it was about ensuring there was a space for stars to perform.

How is spectacle integrated into the film’s narrative?    

Spectacle is the essential feature of the narrative, however as described in the text the relationship between narrative and spectacle in this case is considered aggregate, meaning this relationship maintains a definite distinction between narrative and spectacle as two separate aspects of the film. The spectacle of putting on the performances is just one of the many layers of this relationship for this specific film. The performances serve as entertainment for the audience and a position of power for the characters, but these routines also work to explore thematic elements through the development of the characters.

Despite ongoing tensions among some of the girls within the club, the unifying force between them is the threat of losing the one place that makes them feel alive, that enables them to perform in the way they feel as though they were born to. In Ali's first performance "Something's Got a Hold On Me" she sings without a stage, revealing that a star can exist without a stage,but a performer relies on a stage to be a star. Once it becomes know that Ali's character can sing she gains even more recognition as someone to watch. This "star" quality separates her from the rest of the girls, playing into the Hollywood view of the more you can give, the more you'll make (and the more they'll take). A large component of the "spectacle" as mentioned in the text is the integration of the viewer as the "'internal audience" which "retreats into offscreen space', allowing the performance to be 'truly all for us'" (1982, p28). The contrast between narrative and spectacle consequently heightens the perception of both.

3:20

What is the role of dance and movement in relation to the film’s narrative and spectacle?    

Choreographed dance numbers serve as expressions of thematic elements, emotional sequences, and interpersonal relationships. Because of the wide range of dance whether it be graceful, energetic and comedic, or sensual, a variety of emotions are conveyed through several different routines. The routines serve several purposes: transfixation of the audience through elaborate dances and costume design, a platform for the performers to therefore captivate the audience and subsequently convey thematic elements and messages through these routines, which is a compilation of the elements that make up the Burlesque performances. And to exist in opposition, though unbeknownst to audiences, Burlesque is a reflection of those who come to watch. The songs act as a mirror for society to examine themselves in a medium that is laughable but digestible. It is unironic in it's irony, leaving the audience laughing, unable to distinguish who the joke was really and truly about. The effects of the two worlds of the backstage musical Feuer discusses is this sense of "double identification" both the inclusion of the creation of the spectacle itself backstage ,and the viewing of the spectacle as the audience.

In what ways does impossibility within the film ensure the audience escapes from reality?    

Within the film impossibility exists on stage so both the audience and characters live beyond the basis of reality. The dramatic costumes accompanied with music, lights, and props distort forms of reality for the characters and the audience as it creates a world of unlikely desires and imaginative ideas. This heightened reality where anything appears possible allows viewers to suspend belief and immerse themselves in this world of spectacle and fantasy. Because the characters’ main goals are to be apart of this show their desire to escape is almost more intense than those who pay to witness it. On a larger scale, the theme of impossibility and escapism is largely the central force of the film as it is designed around the main character leaving her small life behind to chase her dreams in Los Angeles.

Questions:

Are there any other musicals that offer reflection, whether satirical or not, of current social and economic circumstances?

Considering that these musicals are backstage, would you argue that the narrative separation from spectacle is what makes the musical backstage, or is it the spectacle removed from the narrative? Essentially: what is the more significant component of this type of musical, would the narratives function if the music was incorporated differently?

Burlesque is an interesting case considering masculinity, but for the other musicals, what was the gender dynamic within the film? In the text it's made clear Berkeley's dancers were mainly female as they were "spectacles all on their own," how does this impact the musicals discussed today?

How central is escapism to the narrative of your musical? Would there be a narrative without this element, or what would the story morph into in lieu of it?

The Phantom of The Opera (2004)

The 2004 film adaptation of "The Phantom of the Opera" is a musical drama directed by Joel Schumacher. It is based on Andrew Lloyd Webber's stage musical of the same name, which, in turn, was inspired by Gaston Leroux's 1909 novel. This adaption is known for its visually stunning presentation and emotional performances, and it has gained a dedicated fan base over the years.

Set in 1870s Paris, the narrative follows Christine Daaé (played by Emmy Rossum), a young and talented soprano, as she becomes the obsession of a mysterious and disfigured musical genius known as the Phantom (played by Gerard Butler). Christine, having lost her father, has been guided by the Phantom in secret as she grew up in the opera house. The Phantom, who she refers to as "Angel of Music" tutors her and helps her rise to prominence in the Paris Opera House.

As Christine's career blossoms, she attracts the attention of Raoul, the Vicomte de Chagny (played by Patrick Wilson), who was her childhood friend. A love triangle ensues as Christine grapples with her feelings for Raoul and the Phantom's intense and possessive love for her.

The Phantom, living in the catacombs beneath the opera house, wears a mask to hide his disfigurement. He exerts control over the opera house through various acts of manipulation and intimidation. As the tension between the characters heightens, the Phantom's actions become increasingly erratic and dangerous.

The themes explored in TPOTO surround the complexities of love and obsession as well as the effects of growing up without parental figures. Christine feels bonded to the Phantom as she believes he is the Angel her late father sent to protect her. As a result, it takes a while for her to perceive the dangers of The Phantom's influence over her when people around her, like Meg and Raoul are able to. The narrative also delves into the consequences of societal rejection and the impact of physical appearance on one's self-worth. The character of the Phantom is a complex and tragic figure, adding depth to the exploration of the human condition.

The film closely follows Andrew Lloyd Webber's musical, utilizing its beloved songs and theatrical elements. Joel Schumacher's direction brings a cinematic quality to the production, combining lavish set designs, intricate costumes, and grand visuals to capture the essence of the stage musical.

“The narrative of the backstage musical deals with the process of rehearsing and putting on a show, whilst the numbers represent the show itself. This ‘show-within-a-show structure’ provides clear ‘opportunities for spectacle’"

The Phantom of the Opera can be considered a form of backstage musical due to its thematic elements and narrative structure that delves into the behind-the-scenes aspects of a theatrical production. While it may not fit the traditional definition of a backstage musical, which often portrays the making of a show within the story, The Phantom of the Opera incorporates backstage elements in several ways:

Setting in a Theater: The story is primarily set within the Paris Opera House, providing an intimate look into the workings of a grand theatrical venue. The narrative explores the hidden chambers, catacombs, and labyrinthine passages beneath the opera house, giving the audience a behind-the-scenes perspective.

Rehearsals and Performances: The film includes scenes of rehearsals, preparations, and actual performances, offering glimpses into the creative process of putting on a show. Characters are seen practicing, discussing roles, and dealing with the challenges of staging elaborate productions.

Theatrical Elements in Storytelling: The narrative is punctuated with grand musical numbers that are integral to the storytelling. These musical sequences contribute to the overall theatricality of the film. Songs like "The Music of the Night" and "Masquerade" are not only pivotal to the plot but also serve as dramatic elements within the context of the opera house setting.

While The Phantom of the Opera may not adhere strictly to the conventional definition of a backstage musical, its incorporation of theatrical dynamics, behind-the-scenes intrigue, and the influence of the Phantom on the opera house's productions align it with the broader category of films that explore the world behind the curtain of a theater.

QUESTIONS:

If you had to choose one type of backstage musical to describe TPOTO as, which on would it be?

Do you think the story would be as affective on stage as it is on film?

How does the character of the Phantom in The Phantom of the Opera challenge traditional notions of love and beauty, and how does this contribute to the overall thematic depth of the story?

"The Greatest Showman" is a musical biopic that follows the rise of P.T. Barnum from a poor, ambitious dreamer to the creator of the world-renowned Barnum & Bailey Circus. Determined to provide a better life for his family and defy societal expectations, Barnum forms a diverse troupe of performers, including acrobats, bearded ladies, and dwarfs, to showcase their unique talents.

● How is the film related to the social context of the country during the film’s production?

Despite coinciding with a period of political polarization and uncertainty in the United States, the release of the film also occurred during a time of heightened discussions and activism surrounding critical issues of social justice, equality, and representation. Released in 2017, "The Greatest Showman" resonated with the prevailing social context in the United States, reflecting the growing calls for inclusivity and diversity at the time.

The film's plot centers around P.T. Barnum's journey to create a spectacle that celebrates the uniqueness and talents of individuals who were marginalized by society. This narrative arc mirrored the increasing focus on inclusivity and acceptance in contemporary American culture. Movements advocating for the rights of minority groups, including racial minorities, LGBTQ+ individuals, and people with disabilities, were gaining momentum during this time. "The Greatest Showman" tapped into this societal zeitgeist by championing the idea that everyone, regardless of their background or differences, deserves a chance to be celebrated.

●  In what ways are the performance spaces separated from the narrative spaces in the film?    

In "The Greatest Showman," the distinction between performance spaces and narrative spaces is clear, serving to enhance the storytelling and thematic elements of the film. Performance spaces, such as the circus arena or stage performances, are characterized by their vibrant colors, elaborate costumes, and dynamic choreography. These spaces serve as platforms for the characters to express themselves through song and dance, embodying themes of joy, freedom, and self-expression.

On the other hand, narrative spaces, such as P.T. Barnum's home or the boardrooms of wealthy elites, are often depicted with more subdued tones and muted colors. These settings are used to advance the plot and develop the characters' relationships and motivations. They provide a contrast to the spectacle of the performance spaces, grounding the narrative in the realities of the characters' lives.

This juxtaposition between performance and narrative spaces creates a sense of escapism during the performances, while highlighting the characters' struggles and aspirations in their personal lives. It also allows the audience to immerse themselves in the world of the circus while still engaging with the emotional depth of the characters' stories.

●  How is spectacle integrated into the film’s narrative?    

According to Lauren Pattullo in Narrative and spectacle in the Hollywood musical, "there are basically two kinds of musicals when it comes to the relationship between plot and number. There are those which make clear separations between the two… and those which attempt to cement over the rift and present the number ‘naturally’ as part of the plot" (1). In "The Greatest Showman," spectacle is intricately integrated into the film's narrative, following the model of musicals that aim for the seamless fusion of plot and musical numbers. Unlike musicals that distinctly separate the two elements, "The Greatest Showman" presents spectacle as an organic part of the storytelling process.

Throughout the film, each musical number serves a specific narrative purpose, advancing character development, conveying emotions, and reinforcing thematic elements. For example, the energetic "Come Alive" sequence showcases P.T. Barnum's transformation from a struggling man to a successful showman, paralleling his journey of self-discovery and ambition. Similarly, "This Is Me" serves as an anthem of empowerment for the marginalized circus performers, aligning with the film's overarching theme of celebrating diversity and individuality.

●  What is the role of dance and movement in relation to the film’s narrative and spectacle?    

Firstly, dance and movement serve as narrative tools, conveying emotions, motivations, and character development. Throughout the film, choreographed sequences are used to depict pivotal moments in the characters' lives, from P.T. Barnum's rise to fame to the individual struggles of the circus performers. For instance, the fluid movements and expressive choreography in songs like "Rewrite the Stars" convey the complex dynamics of love, desire, and longing between characters, driving the narrative forward and deepening audience engagement.

Additionally, dance and movement are integral components of the film's spectacle, contributing to its visual splendor and theatricality. The elaborate choreography, coupled with vibrant costumes and dynamic staging, creates spectacles that captivate viewers and enhance the overall cinematic experience. Whether it's the gravity-defying acrobatics of the circus acts or the synchronized ensemble numbers, dance and movement elevate the film's spectacle, immersing audiences in the world of the circus.

●  In what ways does impossibility within the film ensure the audience escapes from reality?    

In songs like "The Greatest Show" and "Come Alive," characters spontaneously break into elaborate choreographed performances, blurring the lines between reality and fantasy. This integration of spectacle into the narrative allows the audience to be fully immersed in the world of P.T. Barnum's circus, where anything seems possible. Furthermore, the grandeur of the musical numbers, with their vibrant visuals and energetic choreography, creates a sense of awe and wonder.

Another way impossibility is manifested in the film is through the extraordinary performances showcased by the characters. From the acrobatics to the seamless choreography, the spectacle of the circus pushes the boundaries of what is physically possible.

Furthermore, the lavish production design and stylized cinematography contribute to the sense of impossibility within the film. The extravagant costumes, elaborate sets, and vibrant visuals create a heightened sense of fantasy, transporting viewers to a world that feels larger-than-life and enchanting.

Panel discussion questions:

What do you believe is the appeal of musical films like "The Greatest Showman" in today's entertainment landscape?

In your opinion, how does the distinction between musicals that clearly separate plot and musical numbers versus those that seamlessly integrate numbers into the plot impact the overall viewing experience? Do you find that one approach enhances immersion and storytelling more effectively than the other? If so, why?

Works cited:

Grease (1978)

This film follows Danny (John Travolta) and Sandy (Olivia Newton-John, two teenagers from different worlds. After a summer fling,  they thought they would never see each other ever again, but unexpectedly reunite in the same school. Sandy, initially a wholesome “stereotypical IT girl”, tries to fit in with Danny's greaser crew, the T-Birds, and their sassy counterparts, the Pink Ladies. 

Identity in Grease: A Song and Dance

The musical numbers in Grease are very energetic and catchy, but they also play a big role in exploring how the characters navigate their identities. Many songs like "Look at Me, I'm Sandra Dee"—(I don’t drink, or swear. I don’t wrap my hair. I get ill from one cigarette. Keep your filthy paws from my silky dress)—and "Beauty School Dropout" showcase characters trying on different identities. Sandy tries to be the ideal 50s girl, while Rizzo rejects society's expectations. They all use songs to experiment and find their place in the T-Birds/Pink Ladies dynamic. On the other hand, songs like "Greased Lightnin'" and "We Go Together" solidify that bond that we can perceive between the T-Birds and Pink Ladies. Moreover, love, frustration, and teenage angst all find voice through the music. "Hopelessly Devoted to You", probably the most emotional song on the movie’s tracklist, lays bare Sandy's feelings, portraying her as the basic, easily enamored girl.

The film reinforces stereotypical gendered behaviors. For example, in “Summer Nights”, the girls' lyrics ("Tell me more, was it love at first sight?") center around romance and emotions, suggesting a more emotional and sensitive view of love. Whereas the boys' lyrics ("Tell me more, did she put up a fight?")  imply a focus on sexual conquest, portraying a more aggressive and sexualized view of romantic relationships. The song reinforces the idea that men and women approach love differently based on these stereotypes and it could be argued that it promotes non-consensual intimacy.

The characters in Grease don't just burst into song for no reason, their world revolves around music. The energy and choreography allow characters to process their emotions in a big way. In fact, the film doesn't shy away from showing the characters enjoying music and dance for pure fun. 

Yet, the world of Grease isn't exactly diverse

It is noticeable that the film avoids touching on any serious social issues of the 1950s, like racial tensions or economic disparity. This creates a sanitized version of the past and ignores the complexities of real life. The music itself doesn't delve into racial themes, and there is quite literally, only one visible Black character in the movie—Frederick "Dennis" Greene as part of the singing group Johnny Casino and the Gamblers.

The Ordinary → Utopia

Several elements align with the classic trope of white musicals seeking to transform the ordinary into a utopia. Sandy's journey from a demure, "good girl" to a leather-clad greaser epitomizes this trope. Her initial wholesomeness represents the ordinary, while her adoption of the greaser look signifies a transformation into something cooler and more exciting. This aligns with the utopian ideal of escaping the mundane. On the other hand, Rydell High itself is portrayed as a somewhat utopian space. Sure, there are cliques and social pressures, but overall, it's a place where teenagers can have carefree fun. Finally, the film's resolution reinforces the utopian ideal. Danny and Sandy reconcile, the T-Birds and Pink Ladies maintain their cool-kid status, and everyone seems to get their happily-ever-after. This all-pink ending avoids the complexities of real life, where there are serious conflicts and consequences for teenage rebellion, and presents a more perfect world.

Circular Time in Grease?

Opening Thoughts

Gene Kelly's Hello Dolly (1969) is set in New York City in the 1890s, and follows the charming antics of widowed matchmaker, Dolly Levi (Barbara Streisand). While working as the marriage broker for wealthy business man, Horace Vandegelder (Walter Mathau), Dolly begins meddling in the romantic lives of Vandegelder's niece who is in love with a man he does not approve of, and of his head clerk whom he never gives a night off. All the while, Dolly is scheming to advance her own romantic aspirations. The story takes us from Yonkers to the shining streets of New York City where the characters experience life and love like never before.

What do the musical numbers signify about identity in the course of the film's narrative?

The film opens with a solo sung by Dolly, clearly conveying her charming, meddling, and involved personality. The song, "Just Leave Everything to Me", asserts her as someone who knows people, and whom specializes in arranging people's lives, singing, "I'll arrange for making all arrangements". This opening number sets the tone for the rest of the film as the rest of the characters soon fall into Dolly's respective plans for them. The firmness of her personality is further asserted in a musical number towards the end of the film, "So Long Dearie", where she does not bother to waste her efforts anymore on a man who rejects her. The next song, "It Takes a Woman" sung by Horace and an ensemble of men working at his shop, is a bit ironic as it is about how "it takes a woman, all powdered and pink/ To joyously clean out the drain the sink". This song makes audiences aware of the time period, as it speaks strongly to female identity, and how they were expected to perform all of the home keeping tasks, but with a smile of course. However, the song is quite silly as even though it puts the man in the position of power, it is Dolly who takes charge not only over her life, but of those around her including Horace's.

The film's narrative is one of finding love, and therefore, over the course of the film, the music creates a joyous and light hearted sense of being swept away in the various emotions love brings. Since the cast is primarily white, and follows the stories of white characters, the story is void of social issues that would be present in the lives of the cast were they not white during this time period. It is because of this I think, that the film is able to tell this story of love taking precedence over social and economic status.

What is the purpose of the songs in the character's lives?

Over the course of the film, the musical numbers convey the desires of the main cast, whether they are waiting for love, wanting to experience new things in life, or moving on from mourning. For example, Cornelius (Michael Crawford) and Barnaby (Danny Lockin), two young men who work for Horace, conceal their identity to pose as prominent figures in the New York City social scene in order to woo the girls whom Dolly has set them up with. Without much money to their name, they see it necessary to pretend to be something they're not so that they might get to experience love and luxury even just for a day. Listen below, musical number "Elegance".

Many of the songs also serve as catalysts, connecting one segment of the narrative into the other. Especially with large ensemble numbers with no dialogue, and music coming from outside the diegesis. For example, the number, "Dancing", is a cheery song about overcoming fears surrounding not knowing how to dance--which really represents the Cornelius' fear of being caught in the lie that he is rich. For Cornelius, learning to dance is a way of freeing himself from his reservations as he gains the confidence to pursue his love.

In his essay, "Is Car Wash A Musical?", Richard Dyer argues that a musical number in white musicals "embodies a sense of release from the confinement of everyday space and time, a glorious escape from the restrictions of modem living" (Dyer 95). This is how the numbers incorporate themselves into the character's lives, and how they create meaning in them. This is seen used in the film a lot in numbers like "Dancing", "Put On Your Sunday Clothes", and "Hello, Dolly!". In these scenes, the characters break into large scale, choreographed routines. The ensemble makes use of their space, whether they are in a park, a restaurant, or a platform at a train station.

In what ways are the songs and/or musical performances racialized and/or gendered?

Circling back to the beginning of the film, "It Takes a Woman" is clearly a very gendered number. Not only is the ensemble performing all male, but it talks about the want for a woman who does everything to keep herself pretty and "fragile", yet who is also happily willing to do several miscellaneous chores from "setting the table" to "cleaning the stable". Another example of a gendered musical number is Irene Molloy's (Marianne MacAndrews) "Ribbons Down My Back". This song speaks to her desire to find love, and how she will gladly wear ribbons down her back to be noticed by someone. The song looks to love with hope, and reinforces traditional female gender expectations by portraying Irene as the passive figure, simply waiting to catch a man's eye.

Moving away from the content of the songs, the way in which the songs themselves are performed and inserted into the narrative is a whole different story. The film falls within the characteristics of what it is that makes a white musical. These characteristics include non-diegetic music, reprises, cheery/love songs, and an escape from reality, topics I'll discuss further below.

What elements of the film align with White musicals’ longing to transform the ordinary into utopia?

Dyer speaks to the differences between white and black musicals, informing readers how race dictates how stories are communicated to their audiences. White musicals allow their white protagonists "opportunities for expansion and freedom", not confined to their reality alone as we briefly covered above when talking about how these numbers play into the character's lives (Dyer 95). The musical numbers are meant to remove the characters from the world, and insert them into some sort of utopia where music comes from nowhere and everyone knows the same dance.

A strong element of the white musical utilized in the film is reprise. Dyer says reprise is "generally used either to mark the change that has occurred in the narrative (...) or to signal the closure of the show" (Dyer 95). Reprise, of course, is repetition, but it serves the purpose of expressing growth, resolve, and a happy ending for our characters. the number "Hello, Dolly!" has a reprise at the end of the film, a big number with the whole cast to celebrate the marriage of Dolly and Horace, and effectively welcome her "back into the world" after she was away so long in mourning. In black musicals, repetition in the form of the reprise isn't common, rather repetition remains a more consistent part of the narrative.

Another way the film aligns itself with the longing to transform the ordinary into utopia is how characters burst into song. Unlike in black musicals where the music often comes from within the narrative space, such as a radio or someone playing an instrument. These sudden musical numbers work to create spaces, as Dyer says, "freed from labor" (Dyer 97). Whereas white protagonists are encouraged to experience joy outside of the material world, black musicals often convey black joy as being experienced while working. This reinforces social expectations, and limits the black experience in musicals to a more stationary life devoid of growth. The film, however, makes it very clear that white joy lies outside of work, as Cornelius and Barnaby's whole journey involves abandoning their jobs and eventually quitting as it isn't worth giving up their newfound love for.

How does the film reflect the temporal circularity of Black musicals?

To further on this concept of growth within black and white musicals, Dyer talks about the concept of temporal circularity in black musicals. In black musicals, this circularity encourages stasis, as there is this understanding of "spatial boundedness" and of how "Black people don't get out of their situation, eventually or geographically" (Dyer 102). With this, the possibility for characters in a black musical to change their circumstances for the better is discouraged, as Dyer writes, "The musical numbers do not take the characters out of the moment, "transport" them, resolve their problems; the emotions and experience of the music do not lead to fundamental changes in their situation" (Dyer 104). However, these themes more commonly seen in black musicals are reflected in the film.

Though white musicals are able to provide a vision for a better world, it is often just that. Hello, Dolly! reflects this to an extent. The film ends where it began, Yonkers, New York, but we still see growth despite the circularity. The final scene is of Dolly and Horace's wedding, and the two other couples, (Cornelius and Irene, and Vandegelder's niece, Ermengarde (Joyce Ames) and Ambrose (Tommy Tune)) are also to be married. So despite this circularity, the characters were able to fulfill their desires expressed throughout the film.

Discussion questions

From what you can gather, how do both white musicals and black musicals imagine happiness?

Why is it that black musicals and white musicals focus on "two different constructions of happiness"?

Why do you think white musicals, in all their longing for utopia, still often fall short of that hope for change in the narrative space?

Newsies 1992 (Kenny Ortega)

"Newsies" is a musical drama film inspired by the true story of the Newsboys' Strike of 1899 in New York City. It follows a group of young newsboys, led by Jack Kelly, played by a very young Christian Bale, as they band together to fight against unfair working conditions and a price hike for newspapers by the powerful publishing titans of the time, culminating in a historic strike that challenges the injustices of the era.

What do the musical numbers signify about identity in the course of the film’s narrative?

In "Newsies," musical numbers deeply intertwine with the narrative to highlight the newsboys' collective and individual identities, showcasing their unity, dreams, and resilience against injustice. Songs like "Seize the Day" articulate their collective struggle and aspirations, while others such as "Santa Fe" reveal personal desires and conflicts. These performances not only act as a powerful form of resistance but also chart the newsboys' growth and transformation, embodying their hopeful and indomitable spirit.

What is the purpose of the songs in the characters’ lives?

"Newsies" uses its musical numbers not just for entertainment but as a vital narrative tool that advances the plot and deepens character development. For example, "Carrying the Banner" sets the stage for the entire film, introducing the audience to the daily grind and aspirations of the newsboys. This song, like others in the film, serves a dual purpose: it's both an exposition and a unifying anthem that binds the newsboys together, showcasing their shared struggles and dreams. The songs in "Newsies" articulate the characters' desires for fairness, belonging, and recognition, transforming individual grievances into a collective call to action. Through music, the film navigates themes of solidarity, resistance, and the pursuit of justice, making the characters' internal motivations and external conflicts resonate with the audience on an emotional level.

In what ways are the songs and/or musical performances racialized and/or gendered?

While the focus of "Newsies" is predominantly on the male characters, the roles of Sarah Jacobs and Medda Larkson offer insights into the film's approach to gender representation. The focus on a predominantly male group of newsboys subtly reflects the historical context and gender dynamics of the labor force. Sarah's character, though not central to the plot, provides a subtle commentary on the domestic and supportive roles relegated to women during the period. Her interactions with the male characters add depth to the narrative, offering a glimpse into the personal stakes involved in the newsboys' strike. Medda Larkson, on the other hand, represents a figure of autonomy and influence. Her performance in "High Times Hard Times" is the only showcase of her character's talent. It also serves as a moment of solidarity with the newsboys' cause. These characters, though operating on the margins of the main narrative, underscore the film's engagement with gender dynamics amidst a predominantly male-driven story.

What elements of the film align with White musicals’ longing to transform the ordinary into utopia?

Dyer's analysis highlights a characteristic longing in White musicals to transform the ordinary into a utopia. "Newsies" embodies this longing through its rousing musical numbers that idealize the power of unity and collective action. Songs like "Seize the Day," "Santa Fe" and "King of New York" encapsulate the characters' aspirations for a better life, transcending their immediate realities through the euphoria of musical expression. This utopian vision is a hallmark of the traditional musical genre, resonating with the notion that communal effort and determination can lead to significant social change.

How does the film reflect the temporal circularity of Black musicals?

Dyer discusses the temporal circularity of Black musicals, contrasting it with the linear progression often found in White musicals. "Newsies," however, aligns more closely with the linear narrative progression typical of White musicals. This narrative structure emphasizes growth, change, and the possibility of a better future. The film culminates in a negotiated victory for the newsboys, symbolized by the triumphant reprise of key musical themes. This resolution reflects the characters' journey from oppression to empowerment, underscoring the film's investment in the idea of progress and the efficacy of collective action. "Newsies" thus concludes on a note of optimism, suggesting that change is achievable and that unity can lead to meaningful social transformation.

"Newsies" presents a rich tapestry of struggle, growth, and triumph, encapsulated through its memorable musical numbers and characters. The film's exploration of solidarity, justice, and the power of collective voice resonates with audiences, offering a spirited take on historical events while engaging with broader themes of identity, community, and resistance.

Discussion Questions

Considering the portrayal of collective identity in Newsies, how might this portrayal differ in a black musical with a similar theme of resistance or social change?

How important do you think individual character development is in stories that are primarily focused on group struggles? Can personal dreams coexist with collective goals without overshadowing them?

Explore how the hopeful and indomitable spirit communicated through the musical numbers in Newsies compares with the portrayal of hope and resistance in black musicals. What might these differences or similarities say about cultural perspectives on struggle and change?

Directed by Joseph Mankiewicz, Guys and Dolls (1955) sees gamblers Nathan Detroit (played by Frank Sinatra) and Sky Masterson make a bet for the sake of funding Nathan’s illegal craps game as he falls under increasing scrutiny from law enforcement. According to the bet, if Sky can get Sergeant Sarah Brown, a sister at a mission, to come with him to Havana, Cuba the next day, he wins $1000; if not, Nathan wins the $1000 to fund his craps game. 

What do the musical numbers signify about identity in the course of the film’s narrative?

The film employs musical numbers to flesh out and define the identities of its characters and the world that they occupy. The numbers serve to enrich the viewer’s understanding of the characters’ relationality to one another, the community they find in criminality, and the distinct identity of the film’s setting. For example, in the number “The Oldest Established Permanent Floating Crap Game”, Nathan’s gambling friends sing about the good that he has done for them as the organizer of their games. It’s in songs like this where the audience is able to understand this community’s reliance on gambling and the roles played within it. 

Even the film’s first scene is a number which employs musical sensibilities and dance to illustrate the characteristics of the world in which Guys and Dolls is set. The film’s setting, as it is depicted as early as the first scene, is a hub of depravity and crime. It is overun with gambling and petty crime – and from it is born a rich community and language. We are also introduced to the presence of law enforcement in this first number which the characters entrenched in this world are able to stave off. 

What is the purpose of the songs in the characters’ lives? 

In most of the film’s songs, the focal point is the relationships and romances that form between characters. There is a somewhat overexposed motif maintained throughout the film that the male characters want to avoid romance, while the female characters (with whom they are paired) yearn for love and marriage. The ol’-ball-and-chain sentiment of the film is expressed numerous times in the text of the film - the most notable song of this sort is “Guys and Dolls.” In it, Nathan laments how “men all over the country” are falling victim to love and marriage. “Guys and Dolls” comes as Nathan has been arguing with his girlfriend of fourteen years (!) about the merits of their getting engaged. His girlfriend, Adelaide, has been imploring Nathan to propose to her for years (she has an entire song in which she claims that she has had a chronic cold because she is stressed from being unwed) but Nathan continues to refuse to do so. As far as all of the men of Guys and Dolls see it, women hope to manipulate and reshape their partners through marriage. 

Another, less cynical manifestation of the themes of romance is found in the song “If I Were A Bell”. Sung by Sarah, “If I Were A Bell” expresses her excitement at her growing closeness with Sky. The number is an earnest and eager illustration on behalf of Sarah about the happiness found in spending time with Sky. 

In what ways are the songs and/or musical performances racialized and/or gendered?

Guys and Dolls has very few people of color in its ensemble and zero people of color in its principle cast. However, there is a portion of the film in which Sky and Sarah visit Havana, Cuba, and the movie’s performances are racialized in this segment. In one scene set in Havana, Sky and Sarah get dinner at a locals’ bar. It is in its depictions of Cuban people around the bar that the film creates caricatures rooted in stereotypes. The men are depicted as leering and drunk while the women are depicted as overtly sexual. One woman attempts to seduce Sky, to which Sarah responds by competing for Sky’s attention (which in itself is both gendered and racialized). Eventually Sarah and Sky come to blows with this unnamed woman, starting a fight that extends throughout the bar. However, the fact that Sky and Sarah – two white Americans – physically fight exclusively Cuban people (even if they were not involved in the conflict which led to the row) after the film made caricatures of all its Cuban characters feels racialized and tone-def.

What elements of the film align with White musicals’ longing to transform the ordinary into utopia? 

As Dyer explains, white musicals have a tendency to create a utopian world from the everyday. The utopian impulse within Guys and Dolls manifests in its romanticism and happily-ever-after ending that occur at the movie’s close. In one of the film’s most famous songs, “Luck Be A Lady,” Sky is able to win an unlikely, luck-based bet because of his love for Sarah. Another example of this longing to build a utopia is the film’s sugar-coated ending in which both of the film’s couples – Sky and Sarah with Nathan and Adelaide – get married in Times Square side-by-side. These flourishes in narrative serve to conclude the film on an optimistic and cheerful note. 

How does the film reflect the temporal circularity of Black musicals? 

In “Is Car Wash a Black Musical?” Dyer contrasts the temporal circularity of Black musicals with a more repetition-based, linear structure of white musicals. Of these two distinctions, Guys and Dolls falls moreso into the white musical structure than the Black musical structure. The narrative emphasizes the ability for change (for example, Nathan grows from being staunchly anti-marriage to getting married by the film’s end). 

Songs and tunes are reprised so as to illustrate this point of character growth. In reprises, the film stresses the change in the various meanings of the same song. For example, there is a specific melody which Sarah hears during one of her first nights in Havana that, upon hearing some days later, represents something that is altogether different.  

Discussion Questions:

One of the most central motifs to Guys and Dolls is the question of marriage. How are these discourses gendered, frequently?

How might a Black musical depict a similar narrative?

Hey there, folks! Today, let's dive deep into the enchanting world of Mary Poppins and explore some of its most iconic scenes. We'll take a closer look at how these moments unfold and what they reveal about the film's themes and messages.

1. Narratives and Myths: "Supercalifragilisticexpialidocious" Who could forget that magical moment when Mary Poppins introduces the Banks children to the wonders of language with "Supercalifragilisticexpialidocious"? It's more than just a tongue-twister; it's a celebration of imagination and creativity. Mary's playful spirit challenges us to embrace the magic of words and think outside the box. The narrator (Bert) talks to the camera at the beginning of the film, setting the whimsical tone that carries throughout.

2. Gender Dynamics: "A Spoonful of Sugar" Now, let's talk about "A Spoonful of Sugar." In this scene, Mary Poppins shows us that femininity isn't confined to traditional roles. She's nurturing, yes, but also confident and assertive. It's a refreshing take on gender, empowering both Mary and the children to challenge stereotypes and be themselves. And speaking of challenging stereotypes, let's not forget about Mrs. Banks! She's a force to be reckoned with, fighting for women's rights and showing us that there's more to being a woman than just staying at home. Her involvement in the suffragette movement, depicted with a blend of humor and seriousness, adds depth to the film's exploration of gender dynamics.

3. Class Markers: "The Perfect Nanny" Ah, "The Perfect Nanny" sequence—a perfect example of class distinctions at play. We see the Banks family searching for a caregiver, expecting nothing but the best. But Mary Poppins turns their world upside down, teaching them that connections matter more than social status. It's a reminder that kindness knows no class boundaries. The wind playing a significant role in carrying Mary Poppins to the family and whisking away other nannies is a subtle yet powerful indicator of the magical disruption she brings to their lives. Additionally, her effortless glide up the stairs and the seemingly endless array of large objects she pulls from her bag underscore her otherworldly nature.

4. Racial Subtexts: "Jolly Holiday" Now, let's talk about "Jolly Holiday." It's a beautiful scene, no doubt, but it's not without its flaws. The animated characters, like the penguin waiters, unfortunately, play into racial stereotypes. It's a reminder that even our favorite films have their shortcomings and that we need to be critical of the media we consume. The suffragette movement portrayed in the film, while progressive in its own right, unfortunately only focuses on the rights of white women, neglecting the intersectional struggles faced by women of color during that time.

5. Character Transformations: Mr. Banks' Redemption

Mr. Banks' transformation unfolds throughout the film, culminating in a poignant redemption arc. Through moments of vulnerability and introspection, he learns the importance of prioritizing family and love over material success. This character evolution challenges traditional notions of masculinity, portraying emotional growth and empathy as signs of strength. Mr. Banks' journey resonates with audiences, past and present, reminding us of the power of self-discovery and redemption.

Robert Stevenson and Ward Kimball’s 1971 fever dream of a musical combines action and animation, war and witchcraft, feminism and effemination, and a classic Disney fantasy touch. Based on the books by English children's author Mary Norton, the story follows Miss Price, the town's "crazy lady", "spinster", and secret witch, as she takes in three young siblings displaced from London during World War II. The four join with scammer/magician Emelius Browne to search for a spell that could “end the war”. Let’s take a closer look!

Narratives and Myths: The Disney-fication of Witchcraft

Stevenson and Kimball Disney-fy witchcraft through Angela Lansbury’s character, Miss Price. Storytellers throughout history often present witches as antagonists or villains: Hansel and Gretel (1812), Snow White and the Seven Dwarfs (1937), and The Sword in the Stone (1963), to name a few. Of course, by 1971, people worldwide could associate “Good Witch” with Glinda (1939), but she was not a catalyst for similarly-natured witches. Miss Price embodies a sense of normalcy and country charm that makes witchcraft seem more like a hobby rather than an all-encompassing characterization of evil. More broadly, Bedknobs and Broomsticks presents magic as realistic, providing the audience with an “anything is possible” mindset.

Depictions of Femininity and Masculinity: Just Feminist Enough

Being a witch simply slots into Miss Price’s identity: she is a single, private, middle-aged woman who lives alone in a large home fairly far from the town center. From our first encounter with her character, we can tell that she does not conform, and has no interest in conforming, to 1940s societal expectations regarding how a woman her age should present herself.

In her article “My Fair Lady: A Voice for Change”, scholar Marcie Ray notes that as America and Western Europe called in second-wave feminism, there came a filmic trend of musicals “[employing] the single girl character to depict the changing nature of (white) female sexuality” (293) as opposed to following a strict love plot. In a later section, “Eliza as the ‘Other’”, Ray discusses the tool of othering the lead female protagonist so she appears to have room for improvement, growth, and assimilation into proper society. Miss Price follows this formula, presenting palatable white femininity and feminism, but ultimately reverting to heterosexual expectations: Mr. Browne, once her anonymous professor of witchcraft, quickly becomes her love interest.

Aligning with the ongoing feminist movement at the time of this film’s production, Mr. Browne’s masculinity, and attached agency, come into question rather than being accepted as fact. His introduction in the film establishes him as a trickster, con artist, and coward. Miss Price turns him into a bunny multiple times, to which he replies “Miss Price, a word about your tactics: if I know I’m being changed into a hawk or a tiger, or something with a bit of flash, but always a fluffy white rabbit? It’s incorrigible!” This power dynamic cements Miss Price, and her playful, modern take on femininity, as the authority and lead throughout the film.

Class and Racial Subtexts: “Portobello Road”

The backdrop of World War II connects all the characters in this film through an environment devoid of abundance, and an expectation of having “less than”. Any hints of wealth or a British upper class can only be seen in what’s left behind during the height of the war rather than through individual characters.

The over ten-minute-long “Portobello Road” musical sequence demonstrates this time of unity through scarcity through color, music, and performance. The street, either through set building or editing, appears gray in itself and tinges everyone walking along the street similarly. This area of London feels communal and bustling while simultaneously being economically disadvantaged. The song, sung by all five of our lead protagonists and by the large ensemble, speaks of riches, fantasy, and possibility: the Portobello Road market is a symbol of hope, even if momentary and unfeasible.

There is little racial or ethnic subtext in this film - past, of course, the significance of WWII and all those groups ostracized, interned, and killed during the time. Portobello Road, however, curiously introduces a densely diverse enclave of London, including spotlight moments of Sikh soldiers, Scottish dancers, and Trini performers. Past their brief musical moments, we do not analyze or revisit these characters. We are, however, shown our five white protagonists interacting with these minority groups in a normalized, meaningful way: dancing, playing, and smiling alongside each other in this utopian street fair. This scene aligns more with the decade of the film’s production (late-60s and early-70s) than it does with the period in which it’s set (1940s). 

Significance to the Audience and Temporality

As briefly mentioned earlier, the character development in Bedknobs and Broomsticks is critical to ensure the comfort of 1970s audiences. Miss Price is just feminist enough, the children as just boisterous enough, Mr. Browne is just crass enough, and everyone is just poor enough. There are many things a contemporary audience can problematize about this film: Miss Price’s reverting to patriarchal expectations of marriage, love, and motherhood; the romanticization of war and, specifically, WWII; Mr. Browne’s sexist remarks about women's memories and professional capabilities. At its core, however, this is still a Disney fantasy with loveable, quirky characters, catchy musical numbers, and an entire additional animated world to fall in love with. There’s a steadfast formula that makes this film enjoyable despite its generational immobility.

Critical Discussion Questions

How do we create lovable characters whose backgrounds are classically/traditionally/stereotypically rooted in horror, antagonism, and/or villainy (ex. witches, con-artists, monsters)?

What generational differences do you see embedded in your film / what changes should/would be made in a remake?

Are love plots actually necessary to the plot of your film or other musicals? What would look different about the trajectory and public reception of the film without a love plot?

The Wizard of Oz is an American cinematic classic. It is widely celebrated for pioneering the use of Technicolor as well as its various narrative creativity, musical score, and memorable characters. To this day, popular media pays homage to the film, remarking at its wonderful ability to serve as a blank canvas for so many variations of American fantasy storytelling.

REWORKING OF NARRATIVES/MYTHS: The film is, of course, an adaptation of the 1900 original novel by L. Frank Baum. Other than dropping the word “wonderful” from the title there were not many significant changes made to the plot. In short:

They changed the color of Dorothy’s slippers from silver to red (to capitalize on the new Technicolor process).

In the film, Oz is presented as a dream that Dorothy visits after being knocked unconscious during a tornado. In the book, oz is a real place that Dorothy actually visits (maybe the most noticeable change that can constitute some interpretive differences)

In the book, the Wicked Witch of the West is a less prominent antagonist. They created the plot element of the Witch seeking the ruby slippers specifically for the film adaptation.

In the book, the reveal of the Wizard is less dramatic. Void of light, smoke, and various Hollywood visual effects, the scene focuses on the Wizard’s own admission of being a humbug.

In terms of reworking myths, much of the subversive tactics that the film employs will be discussed in the following categories.

FEMININITY AND MASCULINITY: The Wizard of Oz puts forth Judy Garland as a female protagonist in what can be largely considered an adventure film. This genre, not to mention the medium in general, was dominated by male protagonists. Stories that centered around women during this time period often relegated them to roles that emphasized romantic or domestic challenges. Dorothy’s character, embarking on a dangerous, transformative journey, broke away from these confines, placing a young woman at the heart of what is effectively an epic adventure narrative.

Dorothy is not the only major female character in the story. The Wicked Witch of the West and Glinda, both pivotal characters, also constitute much screen time and influence. It is worth noting that the female characters depicted do not simply play passive roles in the story. They are not characters to whom things just happen. They make decisions and take actions that drive the plot forward. This active agency was a departure from earlier depictions of women, who were often passive or secondary to the actions and decisions of male characters. Dorothy, Glinda, and the Wicked Witch’s respective qualities of leadership, courage, determination, and agency challenged stereotypes about female capabilities and roles during the time period.

There is also a definitive power dynamic established in the realm of Oz between the female and male characters. For instance, Dorothy is regarded as and looked to as a savior and a caregiver by the male individuals in her company. The Scarecrow, the Tin Man, and the Cowardly Lion are all initially presented as rather incomplete. Much of their respective character substance is defined by the qualities which they lack. The scarecrow is not smart, the tin man is not caring, and the lion is not courageous. Dorothy provides reassurance and encouragement, acting as a pillar of strength for them and enabling them to rediscover the qualities that they believed were absent. In simpler words: Dorothy, the female figure, is presented as strong and capable while her male company are presented as weak and broken.

Lastly, a couple notes. It is also worth noting that the only people shown to wield actual magic in Oz are female. It is speculated that L. Frank Baum, the original author of The Wonderful Wizard of Oz novel on which the film is based, was committed to the cause of women’s rights as both his wife and mother-in-law were notable campaigners for the women’s suffrage movement.

CLASS MARKERS:

The Wizard of Oz is, by all appearances, chock-full of references to capitalist structure and notions of class. Many scholars have written on the topic and suggest a number of thematic representations that relate to world-events, political sentiments, or class disparities of the time. Some of these are a bit far fetched so I will only include a few that I feel hold the most validity as well as a few of my own recognition.

Allegory for Populism: The Wizard of Oz is interpreted as a political allegory of turn-of-the-century America, reflecting the struggles and aspirations of the Populist movement, which aimed to uplift the working class and farmers against industrial capitalists and bankers (as represented by Oz).

Critique of Political Deception: The Wizard’s exposure as a fraud critiques the political leaders who maintain power through illusion and manipulation, rather than genuine leadership or democratic principles.

In “’The Wizard of Oz’ is a Real Political Allegory” by Michael Genovese, President of the Global Policy institute at Loyola Marymount University, a the following character symbolism is offered.

Characters as Symbols:

Dorothy symbolizes the Everyman, or the common person.

The Tin Woodman represents the industrial worker, highlighting the dehumanization and alienation experienced by factory workers.

The Scarecrow represents the farmer, suggesting a perceived lack of political awareness or intellect in addressing their plight.

The Cowardly Lion is an allegory for William Jennings Bryan, a prominent Populist leader known for his eloquence but criticized for lacking political courage.

The Wizard represents the President, embodying the idea that political leaders are powerful only through deception and manipulation.

The Munchkins are the “little people,” or the ordinary citizens oppressed by the ruling classes (bankers and capitalists.)

Character Musical Themes: The film uses music to distinguish to companion a character with their own song or theme that reflects their desires and, by extension, their social roles or class. For instance, the Tin Man’s “If I Only Had a Heart” speaks to the industrial worker’s desire for emotional fulfillment beyond mechanical labor, while the Scarecrow’s “If I Only Had a Brain” addresses the undervaluation of the agricultural worker’s intellect.

The Emerald City as Distinction: The landscape and dress of the Emerald City and it’s citizens is certainly quite a distinct departure from that which resides outside of the city. It feels quite similar to a lot of dystopian cityscapes we’ve seen depicted in stories like The Hunger Games. The wealthy and elite citizens of the Emerald City indulge in grandeur, extravagance, and flamboyance, distinguishing themselves in their luxury and delusion from the common people of the land of Oz.

While some of these may be quite far-fetched in their explicit intentions for symbolism, it is certainly thought provoking. I have found that several authors have published varying theories about the symbolic significance of the characters of the story. The validity of these representations is entirely subjective (in the eye of the beholder, if you will). One thing is certain, despite its historical and political symbolic intentions, The Wizard of Oz remains relevant for its exploration of universal themes and its critique of social and political issues, inviting viewers to reflect on the nature of power, leadership, and the quest for justice and equality.

RACIAL SUBTEXTS: The Wizard of Oz features a predominantly white cast, including little to no people of color in the entire film’s production. This reflects the racial norms and exclusionary practices of Hollywood (and greater society as a whole) during the era.

While there is no direct depiction or acknowledgement of systems of racial inequality in the film and speculations would be cloudy, there is something to say for the way that “otherness” is depicted.

The Munchkins, who welcome Dorothy to Oz, represent one of the first encounters with “otherness” in Oz. They are depicted as a homogenous group, distinct in their appearance and culture as opposed to the rest of Oz. Further, the Munchkins’ celebration of the witch’s death and their own liberation can be seen as a commentary on the joy and relief of oppressed peoples gaining freedom. Their portrayal also leans into the trope of the “exotic” or “other,” a common practice in films of the era that depicted groups differing from the normative standards (in this case, the standards of white, American society) as quaint, colorful, and somewhat uniform in their otherness.

Additionally, the Good Witch of the North (Glinda) and the Wicked Witches of the East and West further explore the theme of otherness through their moral and physical distinctions. The witches are powerful figures, both feared and revered, setting them apart from the ordinary inhabitants of Oz. The dichotomy between Glinda's benevolent, beautiful appearance and the Wicked Witch of the West's menacing, green-skinned portrayal reinforces traditional binaries of good vs. evil, but also reflects societal tendencies to mistrust or demonize those who are different. On the flip side, the Wicked Witch of the West's pursuit of Dorothy and her desire for the ruby slippers can similarly be interpreted as a struggle against the forces of otherness that threaten her power and domain.

"Dharamputra", directed by Yash Chopra, intertwines themes of identity, religious division, and the social unrest that defined pre- and post-independence India (1925-1947). Set against this backdrop, the film delves into the story of Husn Bano, a young, unwed Muslim mother forced to give up her son due to societal pressures.

The film explores the human cost of such pressures, particularly on the identity of Indian Muslims. It exposes the phenomenon of "othering," where a dominant group constructs the "other" as different and potentially threatening. This concept becomes tragically relevant in the wake of Partition, as Dilip, raised as a Hindu and indoctrinated with nationalist fervor, struggles to reconcile his upbringing with the sudden revelation of his Muslim heritage.

Dilip's transformation from innocence to bigotry reflects the escalating religious tensions of the era. He embodies the "othering" process, becoming a staunch Hindu fundamentalist who actively opposes non-Hindu beliefs. As Sony Jalarajan Raj and Adith K. Suresh discuss in Reframing Islam in bollywood cinema: a study on the construction of the Islamic identity in Indian cinema, "Partition of the Indian subcontinent unilaterally separated individuals into elusive categorizations of ‘us’ and ‘them’". The film portrays the loss of a shared Hindu-Muslim identity post-Partition, highlighting the devastating impact of societal pressures and nationalistic ideology on individuals and communities.

In conclusion, while "Dharamputra" doesn't explicitly offer a path towards healing the divides, it is a reminder of the human cost of religious polarization and the enduring need for understanding and tolerance in a divided world. By showcasing the tragic consequences of othering and the loss of identity, the film compels viewers to critically examine their own biases.

Works cited:

The film Dharamputra directed by Yash Chopra while attempting to ramify the Indo-Pak Partition and address religious bigotry, it paints a false picture and puts Muslims into a stereotypical box while idealizing the Hindu faith. This is supported by Sony Jalarajan Raj's and Adith K. Suresh's article titled Reframing Islam in Bollywood Cinema: A Study on the Construction of the Islamic Identity in Indian Cinema in which they state "It argues that whenever the corporeality of Indian Muslims is expressed through such forms, they get incorporated into the existing historic-geographical narratives, fictiona- lized as ideal stereotypes, normalized to fit into a particular political or ideological view, and finally get solidified into a set of polarized collective identities" (Raj and Suresh 357). A false sense of perfect religious harmony is shown in the musical number Chahe Yeh Mano Chahe Woh Mano which roughly translates to Believe it Or Not. In the number, Muslims and Hindus are shown in perfect harmony acknowledging each others religious and respecting them.

This number and the whole film assumes cooperation of the two religions as they face British rule without addressing the history of the Indo-Pak partition and the true characteristics of the religions themselves and how they could relate to the character development but they do stereotype the religions. Muslims are almost always seen in black while Hindus are seen in white, performing noble deeds and occupying positions of power like Nawab in his death.

In what ways does the film's score situate the story with its narrative context?

Pinocchio (2022) is a fantastical retelling of a classic story influenced by the powerful directorial voice of Guillermo Del Toro. The film is a dreamlike meditation on power, and as such, its score situates the story within its narrative context by mirroring this dreamlike tone. While the narrative is set in specific locations which recall real world history (it takes place in 1930s Italy), the film is a fairytale and as such is set in a magical, heightened version of that which we recognize. The score helps to immerse the viewer in this dream-like, fantastical setting, as it toes the tonal line between melancholy and mirth. In early scenes in which Pinocchio has just been animated and brought to life, the score is light and playful; however, later, as the film ventures into its examination of fascism, the light, bouncy score is replaced by harsh, militaristic chants. The score’s unique, wholistic qualities help to establish and enrich the contextual and thematic fabric of the film. 

How do songs use character performance to push cultural authenticity in the film’s diegesis? 

The film’s songs play a notable part in pushing forward cultural authenticity within the film’s diegesis. The songs mark significant moments of character development, express narrative beats, and allow characters to express their inner thoughts and fears. 

One of the most notable instances of character performance within Pinocchio is the song “Ciao Papa”. Sung by Pinocchio as he performs in the carnival run by Count Volpe, the song is a love letter to his father when he is separated from him. The song is soft and folky, recalling traditional bedtime songs which might be sung by a parent to their child. Additionally, it reflects the cultural context in which the film is set by further establishing the rural Italian setting of the film. 

In what ways does the film use musical “framing” to structure the score within familiarized styles?

In “Time to Face the Music: Musical Appropriation and the Colonization of Disney’s Moana”, Robin Armstrong writes that, “musical ‘framing’ is a structure in which a familiar set of ‘normal’ sounds precede, follows, and accompanies a different set of unfamiliar or ‘other’ sounds.” The film uses familiar sounds in its score in order to ground the film in its specific provenance in time. It allows the audience to connect to the characters and narrative by presenting them with sounds which are recognizeable to them. The soft, playful sonic elements of the score establish an understanding among the audience that the film is rooted in the tradition of historical fairytale. 

The Jungle Book is a wonderful coming of age animated musical film that follows Mowgli as he learns to grasp his identity of man. The music in this film is a combination of a rich score, songs lacking in cultural authenticity, and a framed structure that is easily interpreted.

In what ways does the film’s score situate the story with its narrative context?

Because the film is a coming of age story, while situated within a dangerous jungle where Mowgli's life is at stake, the score is composed of jazz that communicates four main emotions. Those are mystery, danger, curiosity, and happiness. Mowgli, making his way through the jungle with the help of Baloo and Bagheera, is either in a mysterious situation, in a dangerous situation, filled with curiosity, or completely blissful. This is communicated through the score which establishes that the jungle is a mysterious and dangerous place. It then goes on to communicate when Mowgli is not in danger and exploring or filled with happiness. The opening credits that show the darkness of the jungle combined with the mysterious score perfectly set the scene for Mowgli's trek through it.

How do songs use character performance to push cultural authenticity in the film’s diegesis?

The cultural authenticity in this film is lacking. Even though the film takes place in the jungles of India, the style of music performed by the characters and executed in the score is composed of jazz, Dixieland jazz, barbershop quartets and pop. Other than the small uses of snake charming music, which originates from India, the styles are all American or European. Although the film lacks this crucial cultural authenticity, the performances of the characters are upbeat which through the genre of the music, makes a fun film. The "Trust in Me" number, in which Kha the snake hypnotizes Mowgli, is a standout use of culturally authentic music to craft a scene of danger which leads Mowgli down his path of mistrusting everyone. After this plot point, Mowgli realizes he has to have his guard up at all times and additionally, he cannot rely on anyone to save him from Shere Khan.

In what ways does the film use musical "framing" to structure the score within familiarized styles?

The structure of the films score progresses from mystery and intrigue in the beginning, to curiosity and happiness in the middle, to danger and fear in the ending. This structure helps progress the narrative of the film and encompass the many emotions Mowgli feels as a result of the situations he's in. This rising and falling of conflict reflected in the score helps structure the film and relates to other styles as it is easily understood. In the final fight scene amongst Mowgli, Shere Khan, and Baloo, the dramatic crashes of the jazz score aid the emphasis on the climax.