|re: BRIGADOON on TCM; I figured out its weak spot|
|Last Edit: singleticket 10:57 pm EST 03/09/19|
|Posted by: singleticket 10:53 pm EST 03/09/19|
|In reply to: re: BRIGADOON on TCM; I figured out its weak spot - keikekaze 06:23 pm EST 03/09/19|
|Huh, interesting that Pauline Kael thought that. The bar scene is a really masterful piece of filmaking, particulary the background direction and the placement of the camera, and it anticipates elements of Minnelli's staging of the scene at Maxim's in GIGI.
I love the placement of the camera below the bar in the final shot of the sequence, as if the city is on a slope that tilts to the bar where New Yorkers dose themselves just to bear the crush of the city.
On closer viewing, I'd say the writing of Jane is less than sympathetic. Jane is not even faking sympathy for her fiancee's best friends' alcoholism. Her complaint is that her friends now find his drinking "boring". But I can understand how her materialism might also be laced with a certain contempt for the urban woman who has her own agenda and isn't waiting at her spinning wheel for her eternal mate.
There's another figure that I find a little disturbing in the final shot of the bar scene: a bespectacled gentleman with what reads to me like a Jewish nose who is particularly loud and is barking something about "security". He seems to be there as the final straw to break Mr. Kelly's back and to send him rushing back into the monoculture of Brigadoon.
The musical feels very Brexit to me.
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