Talk:Blue Skies (1946 film): Difference between revisions
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==Untitled== |
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Perhaps a silly question, but does anyone know why Caulfield was cast in this film? To put it mildly, she really seems out of place here, since she neither sings (aside from a couple of brief harmonies on one or two numbers) nor does she dance. --[[User:Ndorward|ND]] 18:01, 26 December 2006 (UTC) |
Perhaps a silly question, but does anyone know why Caulfield was cast in this film? To put it mildly, she really seems out of place here, since she neither sings (aside from a couple of brief harmonies on one or two numbers) nor does she dance. --[[User:Ndorward|ND]] 18:01, 26 December 2006 (UTC) |
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:Joan Caulfield was the protege of [[Mark Sandrich]] - who directed many of the Astaire-Rogers musicals - and who was originally slated to direct this film. He died of a heart attack during pre-production and Stuart Heisler was drafted in to replace him. Heisler wanted Caulfield replaced, but Crosby - who was having an affair with Caulfield - protected her. This is also partly why Crosby had Draper replaced when he began to criticise Caulfield's dance ability. For more information see Larry Billman's - ''Fred Astaire - a Bio-bibliography'' p.122. [[User:Dermot|Dermot]] 20:09, 27 February 2007 (UTC) |
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::Thanks for the info! Should some of this appear in the article proper? It seems useful info to have there given that otherwise the casting looks truly inexplicable. --[[User:Ndorward|ND]] 06:31, 28 February 2007 (UTC) |
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:::Done [[User:Dermot|Dermot]] 10:47, 28 February 2007 (UTC) |
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==Puttin' On The Ritz== |
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The section describing this number seems to have a lot of assumptions on the content of the song that don't add up. It talks extensively on differences in speed as though the film speed is different for each section of the number but there are only changes in tempo which is not unusual in a dance number. They're just pseudo-rational explanations given for these "speed" changes that don't actually happen. [[User:Pongley|Pongley]] ([[User talk:Pongley|talk]]) 22:52, 18 October 2012 (UTC) |
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I've tried to clarify what the author meant by speed and tempo in this section. --[[Special:Contributions/24.143.37.7|24.143.37.7]] ([[User talk:24.143.37.7|talk]]) 16:08, 10 July 2013 (UTC) |
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Re: the 'citation needed' for the cane mechanism during the dance sequence, does a YouTube video of an old Parkinson interview with Astaire count? Didn't want to edit it in as I wasn't sure if it was breaching copyright. If you find the video the relevant part is around the 6:30 mark. - [[User:TheThirdSailor|TheThirdSailor]] ([[User talk:TheThirdSailor|talk]] • [[Special:Contributions/TheThirdSailor|contribs]]) 12:18, 27 September 2014 (UTC) |
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== You Keep Coming Back Like a Song == |
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Was this song really specially composed for this movie? Granted it's not a Berlin 'oldie' like most of the other songs in the score but I've noticed it's copyright date is 1943, three years before the movie! [[User:Tiresias13|Tiresias13]] ([[User talk:Tiresias13|talk]]) 20:04, 22 December 2012 (UTC) |
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Untitled[edit]
Perhaps a silly question, but does anyone know why Caulfield was cast in this film? To put it mildly, she really seems out of place here, since she neither sings (aside from a couple of brief harmonies on one or two numbers) nor does she dance. --ND 18:01, 26 December 2006 (UTC)
- Joan Caulfield was the protege of Mark Sandrich - who directed many of the Astaire-Rogers musicals - and who was originally slated to direct this film. He died of a heart attack during pre-production and Stuart Heisler was drafted in to replace him. Heisler wanted Caulfield replaced, but Crosby - who was having an affair with Caulfield - protected her. This is also partly why Crosby had Draper replaced when he began to criticise Caulfield's dance ability. For more information see Larry Billman's - Fred Astaire - a Bio-bibliography p.122. Dermot 20:09, 27 February 2007 (UTC)
- Thanks for the info! Should some of this appear in the article proper? It seems useful info to have there given that otherwise the casting looks truly inexplicable. --ND 06:31, 28 February 2007 (UTC)
- Done Dermot 10:47, 28 February 2007 (UTC)
Puttin' On The Ritz[edit]
The section describing this number seems to have a lot of assumptions on the content of the song that don't add up. It talks extensively on differences in speed as though the film speed is different for each section of the number but there are only changes in tempo which is not unusual in a dance number. They're just pseudo-rational explanations given for these "speed" changes that don't actually happen. Pongley (talk) 22:52, 18 October 2012 (UTC)
I've tried to clarify what the author meant by speed and tempo in this section. --24.143.37.7 (talk) 16:08, 10 July 2013 (UTC)
Re: the 'citation needed' for the cane mechanism during the dance sequence, does a YouTube video of an old Parkinson interview with Astaire count? Didn't want to edit it in as I wasn't sure if it was breaching copyright. If you find the video the relevant part is around the 6:30 mark. - TheThirdSailor (talk • contribs) 12:18, 27 September 2014 (UTC)
You Keep Coming Back Like a Song[edit]
Was this song really specially composed for this movie? Granted it's not a Berlin 'oldie' like most of the other songs in the score but I've noticed it's copyright date is 1943, three years before the movie! Tiresias13 (talk) 20:04, 22 December 2012 (UTC)