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The Musical

Powerful Essays
The Musical

The classical period of the musical coincided with the heyday of the Hollywood studios from the early thirties to the early fifties. The conventions of the integrated musical were formed in the Astaire--Rogers musicals made at RKO in the thirties and the form peaked at MGM in the forties and early fifties, most notably in films produced by Arthur Freed.

Thomas Schatz has provided a useful definition of the integrated musical. `Rather than create a realistic --or at least plausible --world whose inhabitants find reasonable motives for breaking into song (rehearsals, shows, etc.) the music itself seems to determine the attitudes, values and demeanour of the principal characters. As the musical genre evolved it sacrificed plausibility for internal narrative logic, steadily expanding its range of narrative, visual and musical expression'.

The nature of integration in the film musical lies not simply in the idea that the music and the dances, in particular, should advance the plot but also suggests integration with the entire cinematic process. Integration involves not only choreographing the dances for the camera but also involves the general movement of the film from camerawork to editing. In other words the film is a total piece in which the numbers not only evolve from the narrative but also, in turn, influence the narrative. This integration was first fully realised in the Freed--Kelly--Donen musicals e.g. On the Town and Singin' in the Rain.

At the centre of the integrated musical is modern dance where the body is used without restrictions of style and method, almost spontaneously. This becomes the means of psychological expression through movement. The musical's special power as a genre has been to embody an American popular mythology. By doubling romantic relationships with the energy and beauty of song and dance, the musical endows courting with magical qualities. Music and spectacle were generated by the energy of successful courtship. The loss of status of singing and courtship, as uniquely valuable activities to be celebrated, coincided with the decline of the studio system. The thirties and forties were the great decades for the musical with an average of between forty and fifty per year being produced. By the seventies this had declined to single figures.

Seven video packages designed for use...

... middle of paper ...

...; Star Struck - A1203844X

The Classic Show Musical and the Post-studio Show Musical

· The Band Wagon; New York, New York; That's Dancing - A12036196

The Fairytale Musical and the Folk Musical

· Swing Time; Meet Me in St. Louis - A12038172

· Top Hat; On the Town - A12036161

The Fairytale Musical and the Show Musical

· The Gay Divorcee; Singin' in the Rain; That's Entertainment Part 1 - A12036137

The Post-studio Show Musical

· Cabaret; All That Jazz; That's Entertainment Part 2 - A12038245

The Revue--Fairytale Musical

· Ziegfield Follies; Pennies from Heaven - A1203620X

SELECT BIBLIOGRAPHY

Altman, Rick. The American Musical, British Film Institute, London, 1989.

(ed.) Genre: The Musical, Routledge & Kegan Paul in association with the British Film Institute, London, 1981.

Delamater, Jerome. Dance in the Hollywood Musical, UMI Research Press, Ann Arbor, Mich., 1978.

Dyer, Richard. `Entertainment and Utopia', Movie no. 24, Spring 1977, pp. 2--13.

Feuer, Jane. The Hollywood Musical, British Film Institute Cinema Series, Macmillan, London, 1982.

Schatz, Thomas. Hollywood Genres, Random House, New York, 1981, Chapter 7, `The Musical'.
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