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Released in 1961, Yash Chopra's Dharamputra delves into a complex period of Indian history. Set against the backdrop of British rule in the mid-20th century, the film explores the simmering political and religious tensions, and of course, the Nationalism, that would ultimately lead to the partition of the country, which narratives, according to Sony Jalarajan Raj and Adith K. Suresh, “inadvertently follow a pattern of recreating the ethnoreligious tensions of the Hindu and Muslim communities.” This issue left millions displaced and resulted in a lot of violence—the film was released just 14 years after the partition of India thus Dharamptura can be seen as a reflection on the roots of this conflict and a plea for religious tolerance.

The narrative revolves around two families: the wealthy, Muslim Nawab Badruddin and his Hindu friend, Amrit Rai. Despite their religious differences, the families enjoy a close bond, living practically as one household. This harmony is shattered by a family secret. Nawab Badruddin's unmarried daughter, Husn Bano, becomes pregnant. She is forced to give up her child, Dilip, for adoption. Amrit Rai and his wife, Savitri, raise Dilip as their own, with Husn Bano secretly watching him grow up. However, when Husn Bano remarries, she's forced to leave Dilip behind. 

The film Tommy (1975), directed by Ken Russell, is a musical fantasy drama that follows a boy named Tommy after he watches his step father kill his father. After this incident, Tommy goes psychosomatically deaf, dumb, and blind. After Tommy discovers his great talent for playing the pinball machine, he accumulates a cult following that take his skills as divine powers. Eventually, Tommy regains his senses and attempts to sell cheap gimmicky products that he claims will give his followers his powers. Tommy is played by the harmonica player of the band The Who. The entire film is based on Tommy, the album by the who released in 1969.

What are the social aspects within the film’s narrative that align with the film’s songs?

During the 70s, society was characterized around large crowds of rock and roll fans flocking to prominent bands. Tommy accumulates a cult following because of his sensational pinball skills, and the music for the film comes directly from the album Tommy, by The Who, that were a prominent rock band in the 60s and 70s. In fact, the whole film is based on the album. During the 60s and 70s, it was not uncommon for rock and roll bands to be worshipped like they were profits or gods. One band could take over the world. In this film, Tommy is portrayed as the second coming of Jesus, granting abilities to his followers which come in the thousands. The song Pinball Wizard is the pinnacle song in the album that is also the main song in the film which Elton John performs. It is the main song that fills in the narrative of the film.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The previously recorded songs coming from the album Tommy, by The Who, engage the viewer with the musicals narratives of a rock and roll story. Tommy's story is one of great success and then tragedy as his own fans murder his mother and step father. The album Tommy and the live tour versions revitalized The Who's career throughout 1969 and 1970. This reflects how Tommy, in the film, had became an international success and made millions of dollars off of his pinball talents. The band went on to witness tragic events at their venues. Similar to how Tommy's story in the film ended in tragedy, The Who concert disaster of 1979 (11 deaths of fans trying to enter the venue) is evidence of how many rock and roll bands are involved in tragic accidents or downfalls. Even though the incident occurred after the making of this film, the concept still applies. A rock and roll band wanted to act in and produce a film, and it's a tragic, yet epic rock opera - one which reflects their own careers. Additionally, Pete Townsend oversaw the production of the films music and the rest of the band does perform in the film.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

This film is a rock musical, starring a rock artist, using a narrative from a rock song, and other rock music from that specific band. This style of music makes the whole film a rollercoaster of fantasy surrealism. From one scene to the next there is emotional tensions, to violent conflict, to perfect calm. These ups and downs in such fantastical ways represent a rock and roll song, or even the life of a rock and roll artist. Watching the film, don't know what's coming next, and it's the same with a band like The Who. As Alberto Mira states: "pop musical, like many established cycles, ends up being about pop music, pop stardom, and their legacies" (32).

Walking on Sunshine is a 2014 British jukebox musical romantic comedy-drama film directed by Max Giwa and Dania Pasquini. The film features popular hit songs from the 1980s and is often compared to Mamma Mia!. The plot of Walking on Sunshine revolves around a young woman who travels to a beautiful coastal village in Italy to attend her sister's impromptu wedding. She soon discovers that the groom is her ex-boyfriend whom she’s still in love with. The story unfolds with a backdrop of sunny beaches and features plenty of singing and dancing to iconic 80s hits. The film is known for its energetic musical numbers and vibrant settings, even though it received mixed reviews for its storyline and character development.

What are the social aspects within the film’s narrative that align with the film’s songs? 

In Walking on Sunshine, the use of vibrant 1980s pop songs directly correlates with the film’s themes of love, joy, and summer romance. Each song is chosen to enhance the film's emotional landscape and reinforce the relationships and conflicts between characters. For instance, the title track "Walking on Sunshine" by Katrina and The Waves is emblematic of the film's overall atmosphere of celebratory love and carefree spirit. The social context here is a nostalgic callback to the 1980s, a time perceived as colorful and full of energy, which mirrors the scenic, lively Italian wedding setting in the film.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The songs selected for Walking on Sunshine carry with them decades of history and individual memories, which help to establish a deeper connection between the audience and the narrative. The film's remix/rendition of "Girls Just Wanna Have Fun" and "Wild Boys" are pivotal in invoking a specific emotional and cultural recall from the audience. "Girls Just Wanna Have Fun," a feminist anthem of self-expression and independence, resonates with the film’s portrayal of strong, independent women navigating love and personal desires. This rendition allows the audience to connect with the characters' journeys through a familiar lens of empowerment and youthful rebellion. This song is interwoven with "Wild Boys" by Duran Duran. With its wild and energetic vibes, "Wild Boys" is used to underline themes of unruly passion and the tumultuous relationships among the characters. The use of these songs (as well as the costume choices in these scenes) not only enhances the narrative but also activates the audience's personal and collective memories, influencing their reception of the film's events and character arcs.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Walking on Sunshine leverages the pop genre, particularly hits from the 1980s, as its driving musical force. Unlike traditional musicals that might rely on Broadway-style numbers, this film’s score is composed entirely of pre-existing pop songs. This choice significantly redefines the film’s classification within the musical genre by merging pop culture with cinematic storytelling. The upbeat and synthesizer-heavy music typical of the 1980s not only supports the film's energetic dance sequences and vibrant aesthetics but also modernizes the musical genre for an audience that might not connect with traditional musical theater. This redefinition makes the genre more accessible and relatable to a broader, possibly younger audience.

Walking on Sunshine is a 2014 British jukebox musical romantic comedy-drama film directed by Max Giwa and Dania Pasquini. The film features popular hit songs from the 1980s and is often compared to Mamma Mia!. The plot of Walking on Sunshine revolves around a young woman who travels to a beautiful coastal village in Italy to attend her sister's impromptu wedding. She soon discovers that the groom is her ex-boyfriend whom she’s still in love with. The story unfolds with a backdrop of sunny beaches and features plenty of singing and dancing to iconic 80s hits. The film is known for its energetic musical numbers and vibrant settings, even though it received mixed reviews for its storyline and character development.

What are the social aspects within the film’s narrative that align with the film’s songs? 

In Walking on Sunshine, the use of vibrant 1980s pop songs directly correlates with the film’s themes of love, joy, and summer romance. Each song is chosen to enhance the film's emotional landscape and reinforce the relationships and conflicts between characters. For instance, the title track "Walking on Sunshine" by Katrina and The Waves is emblematic of the film's overall atmosphere of celebratory love and carefree spirit. The social context here is a nostalgic callback to the 1980s, a time perceived as colorful and full of energy, which mirrors the scenic, lively Italian wedding setting in the film.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The songs selected for Walking on Sunshine carry with them decades of history and individual memories, which help to establish a deeper connection between the audience and the narrative. The film's remix/rendition of "Girls Just Wanna Have Fun" and "Wild Boys" are pivotal in invoking a specific emotional and cultural recall from the audience. "Girls Just Wanna Have Fun," a feminist anthem of self-expression and independence, resonates with the film’s portrayal of strong, independent women navigating love and personal desires. This rendition allows the audience to connect with the characters' journeys through a familiar lens of empowerment and youthful rebellion. This song is interwoven with "Wild Boys" by Duran Duran. With its wild and energetic vibes, "Wild Boys" is used to underline themes of unruly passion and the tumultuous relationships among the characters. The use of these songs (as well as the costume choices in these scenes) not only enhances the narrative but also activates the audience's personal and collective memories, influencing their reception of the film's events and character arcs.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Walking on Sunshine leverages the pop genre, particularly hits from the 1980s, as its driving musical force. Unlike traditional musicals that might rely on Broadway-style numbers, this film’s score is composed entirely of pre-existing pop songs. This choice significantly redefines the film’s classification within the musical genre by merging pop culture with cinematic storytelling. The upbeat and synthesizer-heavy music typical of the 1980s not only supports the film's energetic dance sequences and vibrant aesthetics but also modernizes the musical genre for an audience that might not connect with traditional musical theater. This redefinition makes the genre more accessible and relatable to a broader, possibly younger audience.

Richard Whorf's Till the Clouds Roll By is a 1946 biopic of American Broadway pioneer Jerome Kern. It features renditions of Kern's famous songs from his musical plays performed by contemporary stage artists. The film follows Kern's journey from his early days as a struggling songwriter to his rise as one of the most influential figures in American musical theater.

Jerome Kern was an American composer whose breakthrough came with the musical Show Boat (1927). Throughout his career, Kern composed numerous hit songs that became standards of the American songbook. Kern's influence extended beyond Broadway, as he also composed music for Hollywood films. He received multiple Academy Award nominations for his film work, including for the score of "Swing Time" (1936), which featured the classic song "The Way You Look Tonight."

What are the social aspects within the film’s narrative that align with the film’s songs? 

In Till the Clouds Roll By, every song serves as a snapshot from one of Jerome Kern's musicals. Each of his musicals has various themes that are reflected in these performances. For instance, the film delves into the pursuit of artistic success and recognition within the competitive world of musical theater, as seen in the song "Make Believe" from Showboat. Performances of songs like "Can't Help Lovin' Dat Man" and "The Folks Who Live on the Hill" create sentiments of longing, desire, and devotion, mirroring the characters' experiences of love and heartache against the backdrop of their personal and professional lives.

Through these performances, audiences are transported into the intimate moments of the characters' lives, witnessing the highs and lows of their relationships unfold on screen. The emotional depth and vulnerability conveyed through these songs resonate with audiences on a profound level, inviting them to reflect on their own experiences of love and longing.

2. How do the historiographies of previously recorded songs inform audience relationships with the musical's narrative and performers?

By incorporating these well-known songs into the film, Till the Clouds Roll By establishes a connection with audiences who may be familiar with the original recordings. The historiographies of these songs evoke a sense of nostalgia and recognition, inviting audiences to engage with Kern's work on a deeper level. As audiences listen to familiar tunes reinterpreted within the context of the film, they are reminded of past performances and experiences, enriching their understanding and appreciation of the narrative unfolding on screen. Each performance is set against the backdrop of theatrical stages that include similar set designs and costumes to those of Kern's musical plays.

A notable example of this homage is Caleb Peterson's rendition of "Ol' Man River" from Kern's seminal work, Show Boat. In the film, we see the character Joe, a Black dock worker grappling with the struggles faced by African Americans along the Mississippi River. Peterson's performance captures the essence of Kern's vision for the film. He is dressed in attire similar to Joe's character and surrounded by a stage design reminiscent of the riverfront setting.

Later on, the film's set design shifts completely and we see Frank Sinatra's rendition of "Ol' Man River" towards the end. Sinatra's performance is set against the backdrop of a grand orchestra and adorned in an all-white suit.

While Peterson's rendition authentically captures the struggles of marginalized communities and serves as a powerful commentary on racial inequality, Sinatra's interpretation almost overshadows this narrative depth. The contrast between Peterson's portrayal of a Black dock worker and Sinatra's performance with overwhelming privilege and sophistication, dilutes the real meaning behind the song, shifting the focus away from the authentic representation of racial struggle.

3. What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Alberto Mira's "Introduction: The Hollywood Musical is Dead. Long Live the Hollywood Musical!" provides valuable insights into the evolution and significance of the Hollywood musical genre, which can be applied to understanding Till The Clouds Roll By. Mira's discussion of the Hollywood musical's cultural significance underscores the importance of the genre as a reflection of societal values and aspirations. Till the Clouds Roll By embodies this aspect by exploring themes of ambition, love, and social justice through its musical performances and narrative arcs. The film serves as a testament to the enduring appeal of the Hollywood musical genre and its ability to resonate with audiences across generations.

Stormy Weather is a 1943 musical directed by Andrew L. Stone. Stormy Weather made history being one of the earliest films with an all-Black cast to be released by a major American studio (being released by Twentieth Century Fox). The film follows the story of Bill Williamson as he recounts it years later in a series of flashbacks which depict his return from serving in World War I. Upon returning to the US, Bill meets Selina, a famous singer and performer. Over the course of the film, Bill grows closer to Selina as he travels to New Orleans in order to pursue the dream of becoming a performer himself. The film is full of numbers which employ jazz and swing music from the early half of the twentieth century. 

What are the social aspects within the film’s narrative that align with the film’s songs? 

Stormy Weather uses its songs in order to develop the diegesis and tone of the film, in addition to exploring its themes further. The film’s focus on romance and connections between people is explored through its use of songs like “I Can’t Give You Anything But Love, Baby”, “Aint Misbehavin” or the titular “Stormy Weather”. The film pointedly distances itself from making commentary about larger societal and cultural issues, however, as the setting which the  characters occupy is devoid of any mention of race or class. 

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

The historiographies of previously recorded songs help to inform audience relationships with Stormy Weather’s story, characters, and relationships between characters. By intertwining the film’s narrative with familiar songs, Stormy Weather situates itself within the tradition of American jazz and swing. By employing songs which had already built rich histories in American musical tradition, Stormy Weather enriches its narrative centered around performance and art. These known, preexisting songs are used as short hand for narrative development and fit seamlessly into the conceit of the film. 

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

Stormy Weather primarily employs jazz standards in developing its sonic tapestry. Its choice of songs covers a century’s worth of music – from the mid-1800s to the 1940s. Many of the songs used by the film were written or originally performed by Black artists like Ethel Waters or Andy Rafaz. By highlighting jazz music in a film depicting an all-Black cast, Stormy Weather helps to reclaim jazz within the Black community after a generation of appropriation by white audiences. 

However, as most of the creative body behind Stormy Weather was white, the film depicts Black characters and narratives through a white lens. The film employs minstrel songs in its catalogue like “De Camptown Races”.  The song was written in inaccurate AAVE and was intended to be sung in minstrel shows by white performers wearing blackface. “De Camptown Races” was introduced by the Christey’s Minstrel in 1850 and would be performed in minstrel shows throughout the nineteenth century. 

Directed by Emile Ardolino in 1992, Sister Act is a comedy film starring Whoopi Goldberg as Deloris Van Cartier, a lounge singer who witnesses a murder and is placed in protective custody in a convent. Disguised as a nun, Deloris clashes with the strict Mother Superior (played by Maggie Smith) but ultimately helps transform the struggling choir into a musical sensation. Along the way, Deloris finds redemption, friendship, and a sense of purpose. The film combines humor, music, and themes of empowerment and sisterhood to deliver an uplifting and entertaining story.

Deloris' backstory in Sister Act reveals a poignant journey from her childhood in a Catholic school to her adult life as a singer in Reno. As a child, Deloris attended a Catholic school, presumably imbued with the teachings and traditions of the Church. However, for reasons undisclosed in the film, she ultimately departed from that environment, symbolizing a rupture in her connection to her faith and the Church.

Years later, Deloris finds herself pursuing a career as a singer in Reno, embodying a lifestyle far removed from her religious upbringing. Her departure from the Church as a child and her subsequent immersion in secular pursuits represent a thematic departure from spiritual values and community ties. However, the narrative arc of Sister Act intricately weaves Deloris' return to the Church into its storyline. When Deloris becomes a witness to a crime and is placed in protective custody in a convent, she is forced to confront her past and reconcile with her roots. Through her experiences within the convent, particularly her involvement in revitalizing the choir, Deloris undergoes a profound personal and spiritual transformation.

The film eloquently explores Deloris' initial apprehension towards convent life, juxtaposed against the urban landscape of San Francisco. This juxtaposition serves as a metaphorical reflection of societal disarray, wherein the Church stands as a beacon of hope amidst urban decay. Deloris' transformative impact on the choir symbolizes the catalytic force of individual agency within communities undergoing profound change. Through the medium of music, both Deloris' internal pilgrimage and the city's socio-cultural metamorphosis converge, highlighting the transcendent power of artistic expression to inspire collective renewal and redemption.

What are the social aspects within the film’s narrative that align with the film’s songs? 

The social aspects within the film's narrative align with the film's songs in several ways. 1. Empowerment and Self-Discovery: Many of the songs in the film convey themes of empowerment and self-discovery, mirroring Deloris' journey as she finds her voice and purpose within the convent. Songs like "I Will Follow Him" and "My God (My Guy)" reflect Deloris' transformation from a self-absorbed performer to a woman who finds fulfillment in helping others and embracing her newfound community. 2. Unity and Sisterhood: The film's songs often emphasize themes of unity and sisterhood, echoing the bonds formed among the nuns despite their differences. Songs like "Hail Holy Queen" and "Just a Touch of Love" celebrate the camaraderie and support found within the convent, highlighting the importance of solidarity in overcoming challenges. 3. Redemption and Forgiveness: Through songs like "Bless Our Show" and "If You Wanna Be Somebody," the film explores themes of redemption and forgiveness, emphasizing Deloris' journey towards redemption as she confronts her past and seeks forgiveness from both herself and others.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

As for the historiographies of previously recorded songs, they inform audience relationships with the musical's narrative and performers by adding layers of familiarity and nostalgia. Many of the songs featured in Sister Act are well-known hits from the 1960s and 1970s, such as "I Will Follow Him" by Little Peggy March and "My Guy" by Mary Wells. These songs evoke memories and associations from the past, connecting audiences to the film's setting and characters on a deeper level. Additionally, the use of familiar songs allows the film to play with audience expectations and reinterpret these songs within the context of the narrative, in this case changing love songs into songs praising God, creating moments of surprise and delight.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical? 

The musical genre/style that drives the film's score is primarily gospel, with elements of soul and R&B. This genre/style redefines the film as a musical by infusing it with a vibrant energy and spiritual resonance that complements the themes of redemption and sisterhood. The use of gospel music not only adds authenticity to the setting of a convent but also elevates the emotional impact of key moments in the narrative. Furthermore, the incorporation of soul and R&B elements reflects the diverse backgrounds of the characters and contributes to the film's infectious sense of joy and celebration. Overall, the fusion of gospel, soul, and R&B genres in the film's score creates a dynamic musical experience that enhances the storytelling and leaves a lasting impression on audiences.

Deloris' journey of rediscovery and reconciliation mirrors the larger theme of redemption and the cyclical nature of faith. Deloris' return to the Church symbolizes not only her individual reconciliation but also a broader exploration of forgiveness, belonging, and the enduring power of faith to guide one back to their true self. In essence, her departure from and eventual return to the Church serve as a narrative framework through which the film explores themes of identity, redemption, and the enduring journey towards spiritual fulfillment.

Today, I'm diving into the world of jukebox musical films, and my pick is the underrated gem, "Romance and Cigarettes." Strap in for a wild ride of love, music, and unexpected moments!

Social Aspects and Musical Narratives: "Romance and Cigarettes" is a whirlwind of emotions, and its songs serve as the heartbeat of its narrative. The film explores themes of love, infidelity, and familial bonds, and each song mirrors the characters' inner turmoil and desires. For instance, when characters are at odds with their partners, songs like "Piece of My Heart" by Janis Joplin or "I Want Candy" by Bow Wow Wow intensify the emotional tension on screen. The juxtaposition of classic tunes against modern settings adds layers of complexity to the characters' struggles, highlighting the timeless nature of human relationships.

Historiographies and Audience Relationships: What sets "Romance and Cigarettes" apart is its use of previously recorded songs to drive the story forward. These iconic tracks carry their own histories and meanings, which enrich the audience's connection to the film's narrative and performers. When we hear Elvis Presley's "Trouble" or James Brown's "It's a Man's Man's Man's World," we're not just listening to music; we're tapping into a collective cultural memory that enhances our understanding of the characters' experiences. The familiarity of these songs fosters a sense of nostalgia and empathy, drawing audiences deeper into the film's world.

Musical Genre and Style: "Romance and Cigarettes" defies traditional genre boundaries, blending elements of rock, pop, and soul to create a dynamic and eclectic score. This mishmash of musical styles reflects the film's unconventional narrative structure and characters, (re)defining it as a jukebox musical unlike any other. Whether it's Kate Winslet belting out "And When I Die" or Christopher Walken serenading us with "Delilah," each performance adds a unique flavor to the film's overarching musical tapestry.

In conclusion, "Romance and Cigarettes" is a bold and refreshing take on the jukebox musical genre, weaving together a tapestry of music, emotion, and storytelling that captivates audiences from start to finish. Can't wait to hear your thoughts!

What are the social aspects within the film's narrative that align with the film's songs?

The film’s setting in a college aligns with the songs and narrative, as this enhances themes of social institution structures in regards to race, gender, and status. As Beca enters college with no friends, she tries to find a community through clubs that are rooted in the cliques and established ties. But, once she was discovered by Chloe, a member of the Bellas, she asks to audition for the acapella group due to the lack of members, leading Beca to audition and join the group. Through the Bellas', we see a mixed group of people with different backgrounds and personalities, leading Aubrey to try to change the groups differences to oneness. This brings Beca and Aubrey to be in constant division of each other, effecting the group's dynamic. These disagreements pass the borders of the off-stage and on-stage narrative, as quarrels that are based on their differing personalities are placed during their performances. But, as the narrative continues, they find community in each other through their love of music and singing together as a group. The film's focus on diversity and popular culture of the time through the connected genre of satirical comedy that is shown through both the characters and group relationships that connect to their college environment.

How do historiographies of previously recorded songs inform audience relationships with the musical's narrative and performers?

We see the different acapella groups use songs that correlate to their identities, as the TroubleMakers use songs that exert romance and desire through a male perspective that connects to their “bad boy” personalities and the Barden Bellas use songs that have been sung throughout the group's generations, which matches with their traditional looks that are expressed through their stage outfits, dance, and stuck-up personalities of some members. But, throughout the film, the relationship between the groups develops, and the final performances show a change in group dynamic that is expressed through song. We see these changes through their amping of their stage outfits, choreography, and choice of songs that range from "Price Tag" by Jessie J and "Give Me Everything" by Pitbull, Ne-yo, and Afrojack. Specifically, Beca's choice of singing "Don't You (Forget About Me)" by Simple Minds to send a message to Jessie, a member of the troublemakers, for a second chance, as the song is based off their time watching The Breakfast Club (1985). The chosen songs within the film are not merely to connect to the narrative, but rather the relationships of characters that are intertwined with songs that represent their growth individually and together as a group.

What musical genre/style drives the film's score, and how does the genre/style (re)define the film as a musical?

Through Beca's help, the group decides to ditch the songs of tradition and mix songs of different genres that reflects on Beca's background of DJing and aspirations of music production. This reflects the film's intentions of performing songs that are based on mixing of songs in the form of acapella. This comes with different stylistic sounds within each group and the creation of a refreshing take on the expanding genre of musical. A particular scene of the film known as the "Riff Off" is a game played by the acapella groups, as a chosen genre is picked and groups must sing songs in the genre and find a flow within each song that is sung through continuation of lyrics and beat. This game mirrors the idea of mixing songs, whilst using acapella as a way to create melody. This shows a modern take on musicals, as these genres were gaining popularity during this time.

Question 1: What are the social aspects within the film’s narrative that align with the film’s songs?

The narrative of “All That Jazz” explores the dark side of entertainment. In the opening number, “On Broadway”, the audience is introduced to the allure of show business while being shown the grueling audition process.

The upbeat R&B song, performed by George Benson and popularized by The Drifters in 1963, complements the energized dancers and fast moving tryout. The lyrics of the song express longing and escapism, with the narrator dreaming of making it big on Broadway. However, beneath the glittering lights and promising opportunities lies a darker reality. The director, Joe Gideon, uses his artistic prowess and influence over the production to lead casting decisions based on who he wants to sleep with rather than talent.

He begins a sexual relationship with one of the dancers he chooses from the sequence, Veronica, and in a future scene he essentially breaks her down to tears in order to get the performance he wants out of her. To bring it back to “On Broadway”, the tension between the glamorous facade and the seedy underbelly of show business reflects another tension in the film which is a broader dichotomy in the entertainment world, where personal ambition often beats out artistic and personal integrity.

The scene between Veronica and Joe.

Another social aspect explored within the film’s narrative through song is the cyclical nature of life and art in “Everything Old is New Again”. The song was originally by Peter Allen in his 1974 album “Continental American”. As Joe grapples with his morality and attempts to reinvent himself creatively, the song serves as an important reminder of the cycle of birth, death, and rebirth, suggesting that trends and fashions often repeat over time. During the 1970s a large number of traditional values were being challenged and individuals sought to redefine themselves in the ever-changing and evolving world. Joe is able to find comfort and define himself with the comfort of the cyclical nature of art and life.

Question 2: How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The use of previously recorded songs in “All That Jazz” seeks to add layers of meaning to a specific audience familiar with their original contexts, an audience of Broadway and the style of bygone eras. For example, “Some of These Days”, a song associated with vaudeville performer Sophie Tucker, is used in a scene where Joe faces his mortality. Audiences familiar with Tucker’s career may interpret the song as a nod to the past, invoking a sense of nostalgia and paying homage to the rich history of stage productions and entertainment that predate Joe Gideon’s era which is inspired by Bob Fosse’s life.

Sophie Tucker

Similarly, “Bye Bye Love” originally by The Everly Brothers is used in a scene where Joe grapples with the dissolution of his relationships. The lyrics of the song become more significant in this context, reflecting Joe’s sense of loss and longing.

Question 3: What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The music of “All That Jazz” encompasses a wide range of musical genres and styles including, jazz, pop, classic R&B, and traditional Broadway music. The eclectic mix reflect the diverse taste and influences of its director, Bob Fosse. By mixing the different genres, the film defies categorization and helps to redefine the musical genre. 

Bob Fosse in a situation similar to one we see Joe in many times during the film.

Unlike some jukebox musicals which adhere to a singular style or formula the film embraces experimentation and innovation. The film uses non-linear storytelling, surreal imagery, and unconventional musical numbers to challenge audience expectations. It doesn't feel like what one might think of as a musical, it feels more like a prolonged fever dream of a performance.

Meet Me in St. Louis follows the Smith family living in St. Louis the year before the 1904 World’s Fair. Esther Smith, played by Judy Garland, is the middle “child” of five siblings but is notably the most outgoing, and thus the lead, of her entire family of eight. Garland sings most of the featured songs, including those original to this film:  "The Trolley Song", "The Boy Next Door", and "Have Yourself a Merry Little Christmas”. Most of the remaining songs we popular during the time of the World’s Fair.

Social Context for Musical Relevance

This film straddles two remarkably different eras of US history. The beginning of the 20th century (when the film is set) marked great changes in industrialization and first-wave feminism, while the 1940s (when the film was made) can be largely characterized by WWII and FDR’s final term. Two songs - “The Boy Next Door” and “Over the Bannister” balance these two times while mostly serving to satisfy the 1940s audience. “The Boy Next Door” follows a conversation between Esther and her older sister, Rose, who leaves her sister with the sentence “My dear when you get to be my age you’ll learn that there are more important things in life than boys”. The first few scenes of the film cover the fact that Rose, despite her “spinster” age, is not yet married. While this isn’t necessarily problematized it is heavily emphasized. Instead of following in her sister’s footsteps, Esther yearns for love and attention but seeks it out on her terms. Her relationship with the boy next door, John Truett, begins with these two songs. Last week we discussed Altman’s “inevitable couplings”: this pairing, despite falling into the heteronormative framework and finality of so many other musicals, does require effort and initiation from Esther’s character specifically. When John first kisses Esther, long after the performance of these songs, she hesitates. While this relationship is a goal for Esther, she prioritizes her family and personal needs. Rose and Esther’s overall characters and personalities are reminiscent of the feminist movement they harken from, but their ultimate decisions to settle down with comfortably wealthy men aim to please an audience engulfed in war, loss, and instability.

The Cultivation of Christmas Cheer and Nostalgia

Though half the songs are original to the score, the pieces that make this a jukebox musical serve mainly to cultivate nostalgia and joy. Again, the films release during WWII shaped the messaging required or desired by audiences. “Skip to Ma Lou” is sung to the tune of “Yankee Doodle” and other short ditties popular in the late 19th and early 20th centuries but likely still familiar to adult audiences in 1944. This party scene as a whole evokes normalcy, making the plot and characters more desirable and relatable. Other songs included in the score are “auld lang syne” and “the first noel”, some of the oldest Christmas songs that maintain their relevance to this day. Meet Me in St. Louis is often categorized as a Christmas movie despite only the last 20 or so minutes being set during the holiday season. Including these familiar songs in the score sends clear messages about the persistence of peace and being in communion with one another. These songs don’t necessarily have specific or relevant histories but they do have age-old recognition.

Melodrama Meets Musical

Meet Me in St. Louis combines opera, show tunes, and classical music to create a sound that effortlessly blends into the diegesis of the film. Erin Blakemore notes how the film lacks large, spontaneous musical numbers despite all the crowd scenes and possibilities for such fanfare. Rather, the creators integrated music into the Smith family’s regular routines: their parties and goodbyes, moments of comfort and joy. The rest of the score is used more like it would be in a non-musical drama as a sort of choral, background send-off. This movie is undoubtedly still a musical, but it's more “natural”, and perhaps more aligned with the folk musical, than the others we’ve analyzed.

What are the social aspects within the film’s narrative that align with the film’s songs? 

"Mamma Mia!" is set on a Greek island and reflects the cultural and societal aspects of Mediterranean life. The film portrays a close-knit community where traditions, family ties, and local customs play a significant role. Its setting embodies a sense of escapism and freedom, which resonates with the carefree and joyous spirit of many of ABBA's songs.

Additionally, the film's narrative touches upon themes of family values, female empowerment, and the evolving roles of women. Donna is portrayed as a strong and independent woman who raised her daughter Sophie on her own. This portrayal aligns with the changing societal attitudes towards women's independence and empowerment during the time the film was made and set.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers? 

ABBA's songs, deeply rooted in the 1970s and 1980s, reflect the cultural and societal attitudes of their time. In "Mamma Mia!", the film's late 20th-century setting and characters' experiences resonate with these themes. For instance, "Money, Money, Money" aptly captures the economic struggles faced by Donna as she tries to make ends meet running her hotel on the Greek island. The song's lyrics about financial hardship align with Donna's determination to provide for herself and Sophie. Additionally, "Dancing Queen" encapsulates the youthful spirit of Sophie and her friends as they prepare for the wedding. The song's celebration of youth, joy, and freedom mirrors Sophie's excitement and anticipation for her big day. These songs enrich the film's narrative by adding emotional depth to the characters' experiences and enhancing the audience's engagement with their stories.

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The pop music genre in "Mamma Mia!" complements the film's portrayal of a Mediterranean island community in the late 20th century. ABBA's upbeat and catchy songs, such as "Waterloo" and "Voulez-Vous," encapsulate the energy and optimism of that era.

Unlike traditional musicals with original scores, "Mamma Mia!" uses pre-existing songs to tell its story, making it distinctively vibrant and accessible to audiences familiar with ABBA's music. This approach not only celebrates the timeless appeal of ABBA's songs but also creates a nostalgic and engaging musical experience that resonates with fans and new audiences alike.

Jersey Boys, directed by Clint Eastwood, follows the story of the 1960s rock 'n roll group The Four Seasons comprised of Frankie Valli, Bob Gaudio, Tommy DeVito, and Nick Massi. The film focuses on their rise to fame and the challenges they faced along the way.

What are the social aspects within the film’s narrative that align with the film’s songs?

Jersey Boys aligns its musical selections with key social aspects of its narrative, each song underscoring elements of the personal and communal evolution of the characters. Set against a backdrop of the 1960s—a time of cultural upheaval and musical revolution—the film focuses on the personal struggles and successes of The Four Seasons. For instance, songs like "Sherry" and "Big Girls Don't Cry" resonate with the youthful exuberance and working-class ambitions of the band members, reflecting their hopes and the societal push towards a new musical era that merged pop with personal storytelling. The track "My Eyes Adored You" reflects Frankie Valli's personal losses and his perseverance amidst family tragedies, portraying a deeper social context of personal resilience and commitment, a common theme of the era's socio-cultural fabric. Thus, the film’s songs not only enrich the narrative but also mirror the complex interplay between personal identity and broader societal shifts.

Mira discusses this narrative integration as a staple of successful musicals, highlighting how songs in traditional musicals often serve to express unspoken thoughts or pivotal emotional moments. Though Mira doesn't mention this directly, I find this tactic of musicals to be extremely efficient in advancing timelines without having to explicitly inform the audience of the jump. Similarly, a musical number can encapsulate a wide variety of emotions and plot information, similar to a montage. Jersey Boys employs this technique effectively during sequences like Frankie Valli's rendition of "Can't Take My Eyes Off You," which encapsulates his feelings of triumph and personal turmoil.

How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The historiography of The Four Seasons' songs plays a crucial role in Jersey Boys by creating a bridge between the audience and the narrative, enhancing the authenticity and emotional engagement. Songs like "Walk Like a Man" and "December, 1963 (Oh, What a Night)" carry with them a historical weight that informs and deepens the audience's understanding of the times and trials the characters endure. These songs, embedded in the cultural memory of many viewers, evoke nostalgia and a sense of realism, making the historical context of the film more relatable and vivid. The familiarity of the music invites the audience into a shared experience, transcending the screen to tap into collective memories and emotions, thereby strengthening the connection to the film's portrayal of the characters and their journey.

Furthermore, the film's narrative structure diverges from the typical linear progression of many musicals. It employs a documentary-style format with characters breaking the fourth wall to address the audience directly which contributes to the historiography. The idea is to include the audience in the storytelling as both makers and viewers reflect on the monumental rise of a beloved American music group. This method adds a layer of meta-narrative commentary, reflecting on the construction of musical mythos itself, which Mira notes as a modernist touch in contemporary musicals.

[SEE 4TH WALL BREAK IN TRAILER ABOVE]

What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

Jersey Boys is driven predominantly by the crooner, Doo-Wop, and Rock 'n' Roll styles that characterized the 1960s music scene, particularly influencing the American pop music landscape. This genre choice not only serves to set the period context but also redefines the musical film by integrating biographical and historical realism with the traditional elements of musical theatre. The use of genuine songs from The Four Seasons' catalog, performed in contexts that closely mirror the real-life circumstances under which they were popular, adds a layer of authenticity that is sometimes absent in more stylized musical films. This approach allows Jersey Boys to maintain a foot in the conventional musical genre while also exploring more nuanced, character-driven storytelling, emphasizing the impact of time, place, and societal change on personal and professional lives.

The blend of traditional and innovative elements in Jersey Boys suggests a potential path forward for the Hollywood musical genre, one that respects its roots while evolving to meet contemporary tastes. Mira argues that for musicals to stay relevant, they must adapt by incorporating new styles and addressing modern audiences' expectations, which are more attuned to realism and complexity. I largely agree. I think there is room for the more traditional whimsy of the Hollywood musical if it is housed within more complex themes such as the possibilities we covered in class (humor, delusion, hallucination, satire, etc.).

Jersey Boys demonstrates that the musical genre can successfully incorporate realistic storytelling and complex character development without sacrificing the emotive power of musical performances. The film's ability to appeal to both fans of traditional musicals and new audiences suggests a versatile blueprint for future projects within the genre. The successful integration of music and story, along with a modern narrative approach, may well encourage more filmmakers to explore and innovate within the musical genre, ensuring its survival and relevance in the modern cinematic landscape.

This approach, rooted in the dual adherence to tradition and innovation, not only honors the genre's history but also paves the way for its continued evolution, as discussed by Mira in the broader context of Hollywood musicals adapting to cultural shifts.