alta-krd.ru/scripts The Babbitt and the Bromide Funny Face. The Babbitt and the Bromide feat. Night and Day.
After You, Who? I'd Rather Lead a Band. I Used to Be Colour Blind. The Yam. The Yam Step. High Hat. My One and Only.
The Half of It Dearie Blues. Hang on to Me. I Love Louisa. Fascinatin' Rhythm.
Funny Face. I'd Rather Charleston. White Heat Dancing in the Dark.
Ziegfeld Follies is a American musical comedy film released by Metro- Goldwyn-Mayer, The Babbitt And The Bromide: Astaire and Kelly team up in a comedy song and dance challenge in three sections, to music and lyrics by George. "The Babbit and the Bromide" is a song from the film Ziegfeld Follies featuring Fred Astaire and Gene Kelly. The duo team up in a comedy song and dance.
Not My Girl. I've Got You on My Mind. Crazy Feet.
Popular Songs by Fred Astaire. Funny Face feat. Adele And Fred Astaire. More Fred Astaire Albums. Recommended Songs. Come Dance With Me. Despite being a new addition to the Freed Unit, Astaire was given four numbers in Ziegfeld Follies; the other performers got only one each. The number was filmed in intriguing fashion: Rather than shooting the dance against a theatrical backdrop, Minnelli envelops Astaire in a dizzying three-dimensional swirl of sweeping camera movements.
The setting and Astaire redeem the number by performing the cart-wheeling, fan-flicking fantasy sequence with superb panache. Astaires refusal to satirize the material lends a moving touch to the cardboard concept.
Its the first and only screen collaboration with rival dancing ace Gene Kelly. Introduced by Astaire and his sister years earlier, in Funny Face, this vignette would have been more intriguing if it contrasted Kellys and Astaire's stylistic differences, pitting Kelly's muscular acrobatics against Astaire's elegant agility. Instead, the duo merge styles for a spree of slapstick frivolity and light-hearted tap.
Leaving the number to Astaire and Kelly, Minnelli was fascinated to watch how the two pro and competitors went about their jobs. He couldnt help but notice the cautious and guarded relationship between Kelly and Astaire. Minnelli regretted that Astaire and Kelly danced together only once, in Ziegfeld Follies. For his part, never working together again was both a shame and a loss for moviegoers.
Minnelli tried to interest both in a future project but it didn't work. Before Hollywood, Minnelli's innovation with scenic tints and textures had startled Broadway. Astaire's color debut in Ziegfeld Follies gave Minnelli a chance to use his palette to dazzling effect, but his obsession with dcor overwhelms the dances. Assigned to direct Astaire again in Yolanda and the Thief, Minnelli gladly morphed into pure Technicolor phantasmagoria. Though Edens is co-author, this delightfully wacky sketch bears the unmistakable stamp of Thompson, Judy's new mentor.
Next to Edens, Thompson was to have the greatest influence on Judys performing style. The sketch satirizes the whole idea of stardom, which was the essence of MGM as a studio. Shooting the number was fun, and Judy came off extremely well, revealing a satirical flair for biting lines.
Affecting a grand manner and a pretentious accent, Judy's Madame Crematon slithers around the set in a slinky white gown, holding a press conference in which she gives absurd answers to absurd questions. When the film came out, Judy received excellent reviews for this sketch.
Minnelli succeeded in revealing yet another facets of Judys multi-talents. The musical was first assigned to George Sidney, an unseasoned director, who, after months of shooting, asked to be released. Minnelli was then summoned to take over just one day after he finished shooting Meet Me in St. He wondered why Freed hadn't assigned him to direct in the first place, since he was the right director for such material, having made his reputation with chic Broadway revue.
According to most records, Minnelli directed about half of the movie. More material was shot than could be incorporated. None of Jimmy Durantes sequences, which were shot, made it to the final print. The finale, a tableau featuring tons of iridescent bubbles on Metro's biggest sound stage, was drastically revised.
The bubbles remained, but the stars, included Fred Astaire and Lena Horne, were left on the cutting-room floor.