kos-3
A rejoint le sept. 2000
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Note de kos-3
Though Rio Rita has a big reputation among aficionados, I think it's probably due more to its success as a stage vehicle than as a film.
Nevertheless, for those who are interested in historical films, I feel Rio Rita serves as a good example of the kinds of obstacles that faced early film makers and actors. As the sound and music was recorded live, there are a number of mistakes, slips and awkward moments. But rather than detract, I think it's interesting to see how the actors and staff negotiated these difficulties. Particularly in the reprise of "Sweetheart We Need Each Other" you can see Dorothy Lee struggling to follow the conductor while Bert Wheeler keeps on distracting her, while Helen Kaiser is clearly trying to follow Lee but both Woolsey and Wheeler keep on getting in her way.
Then there are moments that, because the recording was done live, are just over the top. The most hysterical moment has got to be when, after 5 minutes of singing and tap-dancing in a single take, and then after a series of double summersaults, Bert Wheeler literally jumps on Dorothy Lee's back and rides piggy-back while she resumes singing. Wow!
And of course, with so few surviving films with two-strip Technicolor, it's always interesting to see how early film makers took advantage of it.
Nevertheless, for those who are interested in historical films, I feel Rio Rita serves as a good example of the kinds of obstacles that faced early film makers and actors. As the sound and music was recorded live, there are a number of mistakes, slips and awkward moments. But rather than detract, I think it's interesting to see how the actors and staff negotiated these difficulties. Particularly in the reprise of "Sweetheart We Need Each Other" you can see Dorothy Lee struggling to follow the conductor while Bert Wheeler keeps on distracting her, while Helen Kaiser is clearly trying to follow Lee but both Woolsey and Wheeler keep on getting in her way.
Then there are moments that, because the recording was done live, are just over the top. The most hysterical moment has got to be when, after 5 minutes of singing and tap-dancing in a single take, and then after a series of double summersaults, Bert Wheeler literally jumps on Dorothy Lee's back and rides piggy-back while she resumes singing. Wow!
And of course, with so few surviving films with two-strip Technicolor, it's always interesting to see how early film makers took advantage of it.
As of 1998 I've seen the film four times. It's one of those rare films that when I've finished viewing it, I feel as if my intelligence has gained something. Despite the stylization (barely any acting), the film works exceptionally well for those who are willing to let their ideas be challenged.
Incidentally, the version of the film with English-language subtitles provide the only alternative translation of the text that I know, and one that is more faithful to the German. All other English texts are based on the singing text of the vocal score, and thus is shaped to fit to the rhythms of the notes rather than absolutely fidelity to the original meaning.
Incidentally, the version of the film with English-language subtitles provide the only alternative translation of the text that I know, and one that is more faithful to the German. All other English texts are based on the singing text of the vocal score, and thus is shaped to fit to the rhythms of the notes rather than absolutely fidelity to the original meaning.