#panelpresentation

Oliver!  is a film adaptation of Charles Dickens' novel "Oliver Twist,”It talks about a story where a young orphan Oliver Twist runs away and meets a group of boys trained to be pickpockets by an elderly mentor in 1830s London after being sold to a mortician. Through its music, the film discusses themes of poverty, class distinction, and the search for belonging. It uses its songs to both advance the narrative and deepen our understanding of the characters' internal and external worlds.

Question 1: What do the musical numbers signify about identity in the course of the film’s narrative?

"Food, Glorious Food"is the opening musical sequence performed by the workhouse boys in Oliver!. This song shows us how poor and deprived these children are, as they dream of a life that's better than their current one. Their exaggerated dreams about food really stand out against their sad reality, making it clear just how tough their lives are. This moment in the film makes us see these boys as a group that society has left behind.

Question 2: What is the purpose of the songs in the characters’ lives?

"As Long as He Needs Me” is sung by Nancy. It is a powerful expression of her love and loyalty to Bill Sikes, despite the toxic nature of their relationship. It reveals her complexity as a character which torn between her affection for Sikes and her inherent goodness. Through this song, Nancy communicates her willingness to endure hardship for the sake of love, highlighting her tragic predicament.

Question 3: In what ways are the songs and/or musical performances racialized and/or gendered?

The Role of Women:

The female characters in Oliver! often embody or challenge Victorian gender norms. The portrayal of women through the songs and narrative can reflect broader societal expectations of women's roles as nurturers, caretakers, or figures of moral guidance, as seen with characters like Nancy and Mrs. Bedwin. Their roles and musical numbers can reinforce or subtly question the limited scope of agency afforded to women during the period depicted.

Racial Considerations

Given the setting and historical context of Dickens' "Oliver Twist," the film adaptation does not prominently feature racial diversity or explicitly address racial issues through its songs or characters. The focus is predominantly on class disparity and social injustice within a predominantly white, Victorian London.

Question 4: What elements of the film align with White musicals’ longing to transform the ordinary into utopia?

The musical transform the ordinary into utopia through several key elements.

Firstly, the film follows a classic narrative arc from adversity to resolution, a hallmark of many musicals that align with the longing for utopia. Oliver's journey from the workhouse, through the dangers of Fagin's gang, to finally finding a loving home with Mr. Brownlow, embodies the transformation from a bleak existence to one of security and happiness, mirroring the utopian desire for a better world.

The film's visual design, from the costumes to the sets, plays a significant role in crafting a utopian vision. Even in its depiction of poverty, there's a stylized, almost picturesque quality to the scenes that softens the harshness of the reality they represent.

Despite the individual struggles of characters like Oliver, Nancy, the film emphasizes themes of community and belonging. Musical numbers such as "Consider Yourself" highlight the importance of social connections and the idea that everyone can find their place in the world, reinforcing the utopian ideal of inclusivity and social harmony.

Question 5: How does the film reflect the temporal circularity of Black musicals?

 While Oliver! is a film set within a specific historical period (Victorian England) and primarily reflects the social issues and class struggles of its time, applying the notion of temporal circularity directly to it can be challenging due to its distinct narrative context and cultural background. However, we can explore certain elements of the film that might resonate with or parallel the thematic explorations found in Black musicals, especially in how stories and characters might reflect on broader human conditions and societal cycles.

Oliver! talks about the rigid class structures of Victorian England, showcasing the struggles of the impoverished and the marginalized. This focus can echo the exploration of systemic inequality found in Black musicals, although through the lens of class rather than race. The film's depiction of the underclass's struggles and their aspirations for a better life might parallel themes in Black musicals that address societal obstacles and the pursuit of equality and justice.

Questions for the class:

In Oliver!, how does the portrayal of different social classes, particularly through the mise-en-scène and character interactions in the song "Who Will Buy?", reflect Victorian societal structures and contribute to the film's commentary on social inequality? Compare this representation with critical theories on class and social hierarchy. How does the film use the musical genre to both reinforce and challenge these societal norms?

Analyze how Nancy's character, especially through her performance in "As Long as He Needs Me," embodies and complicates Victorian gender expectations. Considering feminist film theory and the concept of the male gaze, discuss how Nancy's portrayal both conforms to and subverts traditional gender roles. What does this suggest about the film's engagement with contemporary discussions of gender and agency?

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?

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?

Read My Fair Lady: A Voice for Change by Marcie Ray before reading the post to understand the full analysis and references brought up.

Subversion of the Pygmalion Narrative

The romantic relationship between Maria and Georg von Trapp in The Sound of Music has the potential to follow a Pygmalion-esque narrative due to their age, class, and wealth disparities. However, the film subverts this potential by creating a dynamic that appears equal and aspirational. While the real Georg and Maria von Trapp had a significant age gap, the film adaptation lessens this gap, with Christopher Plummer and Julie Andrews portraying characters who are both young-looking and attractive, possibly to make the romance more relatable and appealing to audiences.

The real Maria and Georg von Trapp (left) and the screen version (right).

This adjustment not only mitigates the implications of their differences in status and age but also portrays their relationship as more balanced and mutual. Dreamy dance sequences and romantic songs like "Something Good" further sell the idea of a loving partnership, blurring the lines between employer and employee. Unlike the traditional Pygmalion narrative, Georg is not portrayed as a woman-hating or cold-hearted figure; instead, his facade quickly melts away due to Maria's kindness and warmth.

Something Good

Similarly, Maria is not depicted as a helpless or submissive character. While she may start as a governess, her journey throughout the film reveals her independence, resilience, and agency. She challenges Georg's views and traditions, most dramatically in the Rowboat scene starting at (01:13:04), ultimately becoming his partner in both love and life.

This departure from the traditional Pygmalion narrative reinforces the film's themes of empowerment, self-discovery, and the possibility of love transcending societal barriers.

In what ways does the film mark class through music, lighting, costuming, and performance?

The Sound of Music subtly conveys class distinctions through music, lighting, costuming, and performance. Maria's boyish innocence contrasts with the refined sophistication of higher social classes, symbolizing a clash of worlds.

What differences do you see in how these characters are dressed?

The von Trapp house's elegant design reflects elevated status, while interior scenes reveal internal struggles despite outward wealth. The contrast between vibrant outdoor lighting and dim interiors underscores themes of freedom versus constraint.

Overall, these elements enrich the narrative with depth and complexity, subtly exploring social dynamics.

A little photo gallery of my trip to Salzburg and filming locations for the film

Femininity and Masculinity

The Sound of Music reimagines notions of femininity and masculinity by juxtaposing Maria's experience in the convent, where she has a supportive community of women, against the narratives of Echo and Narcissus, Eliza and Higgins, and Pygmalion, where women lack female support systems. Maria's journey begins in the convent, challenging traditional patriarchal hierarchies and presenting a world where women support each other. This contrasts sharply with the narratives of Echo, Eliza, and Pygmalion, where women are at the mercy of men for validation or advancement, lacking the camaraderie and solidarity found in the convent.

Maria and Georg's relationship further subverts traditional gender dynamics, as it is characterized by mutual respect and understanding rather than power imbalances. Maria's influence softens Georg's authoritarian demeanor, showcasing the transformative power of femininity. However, her eventual marriage to Georg, portrayed as a means of reforming her resistance to authority, suggests a return to conventional gender norms.

Despite Maria's initial independence, the film ultimately presents marriage and motherhood as the epitome of happiness for women. Maria's song to Liesel reinforces this idea, 

“Gone are you old ideas of life. The old ideas grow dim. Lo and behold you’re someone's wife and you belong to him.” (02:26:57)

suggesting that belonging to her husband is preferable to her old, free-spirited ideals. This portrayal can be interpreted as a form of "baby" feminism, where female agency is toyed with but ultimately subordinated to traditional gender roles.

Racial Subtexts within the Film

The film The Sound of Music lacks explicit racial subtexts, as all characters are white and assumed to be of Austrian or German descent. Despite the main antagonist being Nazi Germany, there is no discussion of the persecution faced by Jewish people, Roma people, or other targeted groups. The film focuses on the von Trapp family as victims of Nazism, portraying their escape with little resistance. However, this narrative minimizes the broader reality of the atrocities inflicted on targeted individuals under the Nazi regime.

By centering whiteness as the normative experience within cultural narratives, the film fosters the idea that idyllic stories like those depicted are only available to white characters, reflecting the limitations of representation within the context of the film's setting and time period.

Character Transformations: Then vs. Now

Character transformations in The Sound of Music held significance both during its release in 1964 and for contemporary audiences. The 1960s, characterized by the rise of second-wave feminism and societal upheaval, audiences looked for positive narratives of personal growth as a source of hope and empowerment. Maria's evolution and ability to be both a free-spirited novice to a nurturing mother resonated with viewers seeking optimism and agency during turbulent times. It gave women watching the movie a feeling that they could be outspoken and still have a thriving personal life. 

However, both then and now, the film has faced criticism for its perceived simplicity, overly sweet tone, and adherence to traditional gender roles. While audiences appreciate its charm and musical numbers, some find its romanticized depiction of history and gender dynamics outdated or problematic in light of feminist and contemporary critiques. Maria is still a refreshing, joyful, and quietly rebellious figure to contemporary audiences but her lack of complexity, and honestly it is all characters who lack of moral or personal complexity, leaves something to be desired. The film is still a classic and just as enjoyable to watch again and again.

DISCUSSION QUESTION

1. How do the voices in The Sound of Music shape how we see men and women in the film? Julie Andrews sings her own songs, but Christopher Plummer's singing is dubbed. Think about what we learned from Ray about how voices reflect power in My Fair Lady.

2. In discussing Fairy Tale Musicals, what aspects of The Sound of Music qualify it for this category, especially considering the absence of a Cinderella moment seen in other musicals like My Fair Lady or Anastasia? Can you identify a particular theme, moment, or narrative within The Sound of Music that distinguishes it in this genre?

3. What is the role of fairy tale narratives like The Sound of Music in representing historical events or broader societal issues? How do these stories balance their feel-good simplicity with the responsibility to engage with more complex realities?

4. How does Maria's character development in The Sound of Music, transitioning from a spirited and independent governess to a wife and mother, intersect with feminist ideals and traditional gender roles?

Directed by Joseph Mankiewicz, Guys and Dolls (1955) sees gamblers Nathan Detroit (played by Frank Sinatra) and Sky Masterson (Marlon Brando) 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?

Set in the early 20th century, the musical film The Music Man (1962), directed by Morton DaCosta, follows a charismatic, yet manipulative traveling con man that goes to a very rural River City, Iowa. Professor Harold Hill, as he calls himself, creates the need for a boys band wherever he goes and sells instruments, uniforms, and books to earn hundreds of dollars (thousands of dollars today). Hill's routine is to skip town before anyone can take notice. This time, his goals conflict with love and other relationships within the town.

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

The identities in the film center around the entire town of River City, Iowa being one person. The townspeople collectively act in one way, aside from the main and side characters. Professor Harrold Hill, or Greg, is perceived as the other by the whole town. Whether he is seen as charismatic and helpful to the town or as a fraud and the antagonist, the town and him are the two major opposite forces and identities. The musical number “Iowa Stubborn” shows how the town identifies as hospitable and stubborn; both characteristics tie into the rest of the film. Either the town is accommodating and being very friendly to Hill or they are trying to burn him at the stake.

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

The two most predominant purposes of the songs that the characters sing are love and manipulation. Almost every time Marian sings, she is expressing her love for someone or longing for romantic love. This changes throughout the film as she first expresses that she doesn’t want to fall in love with anyone fantastical, such as Harold. By the end of the film she is completely in love with Harold. This stark change in her relationship with Harold evolves through the songs she sings throughout the film surrounding certain events. Her eventual love for Harold can be shown in the number “Till There Was You”. Harold’s purpose for singing revolves around manipulation, and furthering his con on the entire town. Unless he is singing personally to another main character, he is addressing the town and persuading them to buy his musical instruments, uniforms, and books. This can be seen in the number “Ya Got Trouble”. Hill convinces the town that a pool table in the billiard parlor will cause laziness, drug abuse, and other taboo activities in the youth. To counteract this, he proposes that the town invests in a boys band by buying hundreds of dollars worth of his equipment.

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

Because of the complete lack of diversity in the film, one of the main focuses of the numbers is genderization. Typically, in numbers like "Marian the Librarian", Harold, or another male character are seen chasing after their female counterparts instead of the two working in harmony. Additionally there are standards put forth upon Marian by her mother in terms of love and settling down. Marian’s mother says “Darling, don't you ever think of your future…if you keep the flint in one drawer and the steel in the other, you'll never strike much of a fire.” Marian’s mother is basically telling her that life won’t be fulfilled somehow if she doesn’t settle down and get married instead of continuing to be independent. This view fits into the contemporary view of the time regarding the nuclear family, which is perpetuated at the end of the film when Marian and Harold fall in love.

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

Harold's character throughout the film, seeks to transform the town into a musical utopia where boys in a band are playing the trumpet on every street corner. He masquerades around as a music director and promises to the townspeople, through manipulation, of a River City with music running through it. In the number “76 Trombones”, Harold idealizes the band of boys parading through the town playing their instruments. This centers around the mise en scene of the Fourth of July which emphasizes the heavy Americanized themes throughout the film, while disregarding any diversity.

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

The film has several repeating numbers like “76 Trombones”, that show the repetition that occurs in the small town of River City. However, in the end the town does accomplish something, which is in contrast to Black musicals. As Richard Dyer addresses in Is Car Wash a Black Musical?, “It's not a question of transforming ordinary life into a utopia, the longing behind White musicals, but of showing life as an ongoing matter of making and creating” (105). Throughout the film, Harold keeps pursuing Marian in similar ways, and he keeps manipulating the town, in the end the town appears to be better off because of Harold's actions. While the film shares the themes of repetitiveness as certain black musicals, the fundamental difference is the end result. In White musicals, change happens, whereas in Black musicals it doesn't.

Discussion Questions:

Professor Harold Hill completely manipulates the town. How or why is this forgiven by the characters? What does it say about the narratives in Hollywood at the time?

How does the films depiction of gender roles impact the plot?

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 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?