Category: romance

“You Have Failed Me For the Last Time”

A quick note before we begin: I am happy to be back. I apologize for the delay; I’m not sure where all my time goes, but it doesn’t leave a lot of room in my schedule for this fun exercise. I eagerly await finishing this saga and continuing with more movies (we haven’t touched Marvel yet, or even the movies that make me happiest). And now, on with the show!

Empire Strikes Back

Released three years after the first film took people by storm, the core cast returns.  Julian Glover, who we saw as Donovan in Last Crusade pops in as General Veers.  Frank Oz gives us that iconic Yoda voice.  And a fun fact; Bob Anderson who choreographed the sword fights for Princess Bride, Pirates of the Caribbean, Lord of the Rings, and dozens of other films and taught Viggo Mortensen, Errol Flynn, and Sean Connery to sword fight is the stunt double for Darth Vader in this film and Return of the Jedi.

We left our heroes celebrating the destruction of the Death Star and gaining an important victory against the Empire.  Vader is now obsessed with finding Luke Skywalker.  But the Empire is still hunting the rebels.  They’ve taken refuge on the ice planet, Hoth.  Luke and Han are placing sensors when Luke sees a crash.  He assumes it is a meteorite; we know it is a probe from the Empire.  He tells Han he’s going to check it out.  Han returns to base and reports to the general; he needs to leave and pay back Jabba to get the price off his head.  Leia follows him because he can’t just leave.  The couple has a “discussion” in the hall.  Han is certain that Leia has feelings for him, but she won’t admit it (and vice versa, Han certainly has feelings for Leia but won’t admit it either.)  Han’s departure hits a snag, besides the lengthy repairs he is doing with Chewie to the Falcon, 3PO reports that Luke hasn’t returned.

I think one of my favorite things from the original trilogies now is the friendship between Han and Luke.  They’re like brothers (and a different relationship than Obi-Wan and Anakin had).  Han is very concerned that Luke has not returned and immediately sets about discovering his whereabouts.  When it is clear that Luke is still out in the freezing weather of Hoth, Han does not hesitate to suit up to go after him.  Someone cautions “you’re Tauntaun will freeze,” Han quips “see you in Hell!” (because of course Han is going to be the one to swear in the film).

And Luke has indeed found trouble.  A Wampa ice creature knocks him out and takes him back to cave, intent on eating him [the Wampa reminds me of Bumble the snow creature in Rudolph, or vice versa].  [Supposedly, the scars from the Wampa were to mask scars Mark Hamill had received from a car accident].  Luke uses his lightsaber to escape, but then trudges in the blowing snow (actually shot in a blizzard in Norway; the crew were nice and safe in a hotel while Mark got to venture outside).  He collapses and Force-ghost Obi-Wan visits him and urges him to go to Dagobah to find Yoda to complete his Jedi training.  That is how Han finds him, delirious and freezing.  Han’s Tauntaun does freeze to death, so Han uses Luke’s lightsaber to slice it open in order to keep Luke warm and alive.

Commander Skywalker and Captain Solo are rescued come morning and Luke spends some time in a bacta tank.  Everyone meets up in the medical bay; “that’s two you owe me, junior,” Han remarks to Luke.  Leia and Han continue to push each other’s buttons until Leia proclaims Han to be a “stuck up, half-witted, scruffy looking nerfherder!” and then kisses Luke just to prove that Han doesn’t know everything about women.  Luke is very pleased.

The Empire has to crash the party and the Rebels prepare to evacuate.  Luke leads the snow-speeders in knocking out the Imperial AT-Ats (All Terrain Armored Transport), rather ingeniously.  Han ends up taking Leia in the Falcon when Imperial troops enter the base and headquarters are in disarray.  Vader is steps behind them.  They’re pursued by a Star Destroyer and Han executes some fancy flying; until they try to go to lightspeed and the Falcon malfunctions.  Han gets the crazy idea to hide in an asteroid field; because the Imperials would have to be crazy to follow them, snapping at 3PO “never tell me the odds!”  They find a cave on a large asteroid to hide and make repairs. 

Luke reaches his X-Wing and leaves Hoth as well.  Then he heads for Dagobah.  R2 doesn’t quite agree with his decision and Luke is wrong when he assures the little astromech that the planet is safe for droids.  Fog clouds his sight and he crashes into a swamp and R2 almost gets eaten by something, until the creature decides it doesn’t like metal and spits the droid out.  They set up camp and a short green creature comes upon them, very curious about them, even stealing Luke’s dinner and whacks R2 with his stick when R2 won’t let him take a light.  But he knows Yoda.  He’ll take Luke to Yoda.  Luke shows his impatience and Yoda finally reveals himself when he remarks that Luke is not ready to become a Jedi.  “Adventure, excitement, a Jedi craves not these things.”  Obi-Wan’s voice chimes in that he was the same.  “For eight hundred years I have trained Jedi.  My own counsel I will keep on who is to be trained” (oh boy if this didn’t tie-in with the prequels).  Luke insists he wants to finish his training, declaring he is not afraid.  “You will be,” Yoda warns.

Meanwhile, Vader must report his progress to the Emperor.  The Emperor has sensed a great disturbance in the Force and knows they have a new enemy in Skywalker.  He declares him to be the offspring of Anakin Skywalker and Vader asks how [this is a bit of a plot hole when you take into account the prequel because Anakin knows that Padmé was pregnant, but he doesn’t know that the child was born, especially since the Emperor told him she had died].  The Emperor informs his apprentice, “the son of Skywalker must not become a Jedi.”  Vader suggests that they turn Luke to the Dark Side; he’d be a great asset.  “He will join us or he will die.”

On the Falcon, Han and Leia have another interlude.  Leia is still resisting her feelings and calls Han a scoundrel.  He’s fine with that and we hear their theme as they finally share a kiss!  Only for 3PO to interrupt them.  Later, there is something flying around outside the Falcon; Leia remarks “I have a bad feeling about this” (famous saga line).  Mynocks are starting to attack the ship and the cave is not feeling like a cave.  Han beats a quick retreat; “there’s no time to discuss it in a committee,” he snaps at Leia.  “I’m not a committee,” she snaps back.  Just in time because the cave was actually a giant slug!  After they escape, they hide on the Star Destroyer, powered down so the Empire won’t read them.  Once the Imperials decide to separate, the Falcon can float away with the trash.  What they don’t know is that Vader has contacted bounty hunters to find Han and Leia.

Yoda puts Luke through his paces in his training.  He cautions Luke to beware the Dark Side; anger, fear, aggression.  “Once start down that path, consume you it will,” like Vader, the wise master warns.  Canonically, this is the first lesson on the Force and Jedi we learn.  The Dark Side is not stronger, but an easier path, Yoda teaches.  A Jedi uses the Force for knowledge and defense, never for attack [written before Attack of the Clones and can be viewed as something Yoda regretted].  There is a cave on Dagobah, strong with the Dark Side.  Luke ventures in it to learn something about himself and ends up dueling an illusion of Vader.  When Luke beheads his adversary, the helmet explodes to reveal Luke’s face.  A cautionary tale that Luke can fall the way of Vader (and also hinting at a deeper connection).  When Luke’s X-Wing sinks deeper into the swamp, he despairs at retrieving it.  He argues with Master Yoda there is a difference between lifting a stone with the Force and lifting an entire ship.  “No difference, only in your mind!” Yoda insists.  Luke tries to raise the ship.  The infamous “do or do not, there is no try,” [and even in Rebels Kanan admits he doesn’t even know what it means].  Luke does not succeed, because he does not believe he can.  Yoda raises the ship

Han suggests they take refuge with Lando, an old friend one could say, on Bespin.  They don’t know that a bounty hunter is following them.  Lando teases Han a bit when greeting him, but seems happy to see the old scallywag.  And then is very pleased to meet Leia.  Han’s now not so sure about introducing Lando to Leia; luckily, she is not taken by the man’s charm.  3PO wanders off and is attacked.  Chewie eventually finds him and sets about putting him back together.  Unfortunately, the bounty hunter Boba Fett arrived before Han and Leia and reported to Vader.  Lando leads our heroes into a set up with Vader.  The suited man tortures Han; he never asks any questions, just causes pain.  Lando admits that Han and Leia are just bait for Luke.

Luke has a vision of Han and Leia in danger while training.  He faces the question of rescuing his friends and possibly bringing about their suffering, or else staying and completing his training and following their wishes.  Obi-Wan cautions his pupil that the Dark Side will try to tempt Luke; he must complete his training.  He doesn’t want to lose Luke the way he lost Vader.  Luke promises to return and flies off.  Obi-Wan remarks to Yoda “that boy is our last hope.”  “No, there is another,” Yoda answers.

Vader’s plan is to test carbon freezing on Han to see if it will work on Luke; he doesn’t want to damage the Emperor’s prize.  Boba can have him afterwards.  If Solo dies, Boba will be compensated.  Chewie tries to fight the guards, but Han charges him with protecting the princess.  He gives Leia a searing kiss before he’s pulled away.  “I love you,” she finally declares.  “I know,” the scoundrel answers (this line was Harrison Ford’s idea; and this scene was partly due to not knowing if Harrison was coming back for the third movie).  Then Han is frozen; perfectly preserved and alive and now on his way to Jabba the Hutt.

Luke arrives on Bespin and begins searching for his friends.  Leia briefly spots him and screams “it’s a trap!”  But he’s funneled towards Vader anyway.  The lighting of this scene is iconic now; only the silhouette illuminated.  The lightsaber blades shine out.  Luke manages to hold off Vader, though he falls in the chamber for a moment and Vader muses whether Luke is really worth it, but the lad is full of surprises.  They move lower in the city, Vader pushing Luke back, even throwing heavy objects at the young man.  He urges Luke to dip into his anger; only his hatred will destroy his enemy.  They end up in a windy chamber and Vader literally disarms his opponent and tries another tactic.  “Obi-Wan never told you what happened to your father.”  “He told me enough.  He told me you killed him.”  “No.  I am your father” [the shocker of the decade.  Only a handful of people knew that was the actual line; it had originally been written as “Obi-Wan killed your father;” a huge plot twist as well.  George and the director knew, and James Earl Jones when he recorded it, but not even David Prowse (the actor in the suit) knew and Mark was told only moments before shooting.  He was warned that if the secret got out, they’d know who to come after.  Harrison apparently had words with Mark after the premiere.]

Luke makes the ultimate getaway by falling down the chamber and hanging off an antenna at the bottom of Cloud City.  Lando has gotten Chewie and Leia out of Cloud City aboard the Falcon; they were too late to rescue Han.  But Leia has Chewie turn around when she hears Luke call to her in her mind.  Chewie easily accepts her request despite Lando’s protest.  They catch the young man before Vader can come after him.  Luke moans “Ben, why didn’t you tell me.”  With a little help from R2, who knows that the hyperdrive on the Falcon had been disengaged, our heroes escape right from under Vader.

We see our heroes at another medical facility where Luke gains a life-like artificial hand.  The plan is he will join Lando and Chewie on Tatooine once he’s healed and they will rescue Han.

While I have said that I love Anakin and Padmé’s love theme, Across the Stars because you have that sweeping, passionate love theme that makes your heart melt, Han and Leia’s theme is more sedate.  It is a more mature refrain.  It echoes how they are unsure about each other.  There were hints of their attraction from the moment they met; Han even joked that he was beginning to like her when she took over her own rescue.  The music is upbeat for just a moment to brighten the peril they are in.

Empire Strikes Back is a good second movie in a trilogy.  We continue the adventure with characters we already know and love and everyone gets a bit of character development.  A lot of it focuses on Luke because he’s training to be a Jedi, but it’s Han and Leia who are trying to outrun Vader the entire movie.  We’re left with a cliffhanger which makes us anxious for the final film to come out.  And this lightsaber duel is even better than the one in New Hope (but just wait until the third movie!).  And the plot twist!  First time viewers had no idea that was coming.  I didn’t the first time I watched the movie as a child (and my reaction to Yoda was “it’s Fozzy Bear!”)

Next Time: Return of the Jedi

Aggressive Negotiations: Negotiations with a Lightsaber

Episode II: Attack of the Clones

A lot of carry-over from Phantom Menace, though Hayden Christensen has been brought in to play an older Anakin Skywalker.  Ewan McGregor and Natalie Portman return as Obi-Wan and Padmé.  Esteemed Christopher Lee (sadly passed away in 2015, but is extremely memorable for playing Saruman in Lord of the Rings and Hobbit [he had met Tolkien once], as well as voicing the Jabberwocky in Tim Burton’s Alice in Wonderland.  He was also Rochefort in some of the older Three Musketeer movies featuring Michael York as D’Artagnan, and was a Bond villain in The Man with the Golden Gun; portrayed Dracula, and several different characters is various Sherlock Holmes renditions.  His filmography goes back to the mid-forties, with over 280 credits, after serving in the Royal Air Force in WWII) plays Count Dooku.  Jimmy Smits (spent a decade with NYPD Blue and a few years after that on The West Wing, and has a role in the new In the Heights movie.  Prior to that, he was with L.A. Law; I think that’s how my parents knew him…I do remember him hosting A Capitol Fourth  one year; the orchestra played Battle of the Heroes after Revenge of the Sith came out) joins as Senator Bail Organa (yes, Leia’s father down the road).

Takes place ten years after Phantom Menace, Anakin and Obi-Wan have grown as a Master-Padawan team and are assigned to protect Padmé Amidala, now a Senator after an attempt has been made on her life (the opening of the film).  Anakin still puts his foot in his mouth and apparently has not lost his crush on Padmé.  Obi-Wan cautions him, but Anakin is also distracted by dreams and visions he’s had about his mother.  That is why they almost miss a bounty hunter sending a droid to put two worm creatures into Padmé’s room.  Obi-Wan takes the quick way and jumps out the window after the droid (who’s reckless now?)  Anakin chases after his Master in a speeder, weaving in and out of Courscant traffic. The bounty hunter shoots down the droid and Obi-Wan almost plummets to his death, but Anakin catches him.  Then they banter back and forth a bit and Obi-Wan comments “if you spent as much time practicing your saber technique as you do your wit, you’d rival Master Yoda as a swordsman.”  “I thought I already did.”  “Only in your mind, my very young apprentice!”

What follows is a bit of a chase, where Obi-Wan is not fond of Anakin’s flying; “I don’t mind flying, but what you’re doing is suicide!”  [I did an excerpt of this scene from the novelization as a dramatic reading when I was on the forensics team in high school]  Until a shortcut doesn’t work out so well and the pair thinks they’ve lost the bounty hunter.  Anakin then leaps out of the speeder to catch the bounty hunter; “I hate it when he does that,” Obi-Wan mutters.  The bounty hunter tries to shake Anakin, but he persists, though he drops his lightsaber in the process.  Obi-Wan follows and catches his Padawan before he can run after the bounty hunter again.  They track their prey to a bar, Obi-Wan bemoaning a bit, “why do I have the feeling that you’re going to be the death of me?”  Anakin insists not, Obi-Wan is the closest thing he has to a father.  Obi-Wan sends Anakin to scan the crowd while Obi-Wan draws their prey out by having a drink at the main counter, after sending a patron away with a mind trick.  Obi-Wan catches the bounty hunter with his lightsaber and they attempt to question her, but another bounty hunter fires a toxic dart, leaving the Jedi with more questions and few answers.

The Jedi Council instructs Obi-Wan to track down the second bounty hunter.  Meanwhile, Anakin is to escort Padmé back to Naboo and keep her protected.  Chancellor Palpatine is eager to help young Skywalker and remarks he sees Anakin becoming the greatest Jedi, even more powerful than Master Yoda.  [This is not going to end well].  While Padmé is packing, Anakin complains to her about Obi-Wan; yes, his master may be as wise as Master Yoda and as powerful as Master Windu, Anakin still feels like he is ahead of Obi-Wan.  The older man is holding him back (fueled no doubt by the general consensus that Anakin is the Chosen One and probably nudged further by Palpatine’s slippery words).  An old informant of Obi-Wan’s sends him to Kamino; once he gets some help from Yoda and younglings when the Jedi Archives are incomplete regarding the planet.  They’re cloners, Obi-Wan is told.  They seem pleasant enough when he meets them, though they were expecting a Master Sifo-Dyus.  He ordered an army created for the Republic, using a man named Jango Fett as the base.  Jango claims he was recruited by a man named Tyranus.  Oddly, Sifo-Dyus was killed ten years ago.  When Obi-Wan reports to the Jedi Council, they confirm that this army was created without their authorization.  Obi-Wan is to bring Jango Fett in for questioning.  Jango Fett is undoubtedly the bounty hunter that Obi-Wan is searching for and they battle each other in the rain.  Jango has a young son named Boba (he’ll pop up down the road) who tries to help out (and that ship probably looks a bit familiar). Obi-Wan manages to plant a tracker on their ship and follows.

Padmé’s not terribly keen on hiding out on Naboo, but she can’t really go against everyone.  There are some deleted scenes that show more of Padmé’s family; very sweet.  And the scenery for Naboo is gorgeous, feels very Tuscan.  She and Anakin do manage to share a kiss while at the lake house (cue gorgeous love theme), but Padmé breaks it off.  Anakin tries to awkwardly talk about their feelings [the dialogue here is terrible], but Padmé keeps insisting that even if there was something between them, it is terribly unwise and forbidden.  While there, Anakin continues to have nightmares about his mother.  Padmé agrees to go with him to Tatooine.  There, they discover that Shmi is now married to Cliegg Lars.  But she’s not at the Lars homestead; she was taken by Tusken Raiders.  Anakin leaves Padmé with Cliegg, his son Owen and soon-to-be daughter-in-law, Beru (not the last time we’ve heard those names), so he can track them down (we hear Duel of the Fates reprised briefly).  He indeed finds his mother, but she dies in his arms.  Rage fills Anakin and he slaughters the entire village.  In the background we can hear Qui-Gon Jinn beg Anakin “no!”  Even Yoda hears it.  It does nothing to sway Anakin.  He confesses to Padmé after he brings his mother back.  She tries to comfort him, saying that to be angry is to be human.  Anakin retorts that as a Jedi, he is better than that.  He blames the Tusken Raiders, he blames Obi-Wan (and in pops a theme that will gain significance as we go).

Obi-Wan tracks the Fetts to Geonosis, after surviving an asteroid field; again, he’s not too keen on flying.  [Fun note, in the books that precede this film, mainly the Jedi Apprentice series, Obi-Wan didn’t mind flying, but there was an incident at some point that made him not as keen.  And Anakin is very reckless when flying, so that probably doesn’t help]  He transmits his report to Anakin to relay to the Council, then is captured.  We  finally meet the man behind a lot of this; Count Dooku (yep, over an hour into the film and we finally meet the big bad).  Dooku tries to sway Obi-Wan to his side, telling him that the Senate is under the influence of a Sith Lord named Darth Sidious.  We all know this is true, but Obi-Wan doesn’t trust a fallen Jedi.  Dooku was once Qui-Gon’s master and feels that his former Padawan would have aided him and attempts to sway Obi-Wan that way.  Together, they can destroy the Sith!  [All Sith seem bent on destroying something or someone].  Obi-Wan holds firm.

The Council is disturbed by the news from Geonosis.  They order Anakin to stay put.  Jar Jar is chosen to petition emergency powers being granted to the Chancellor in order to take control of the clone army (another reason for us not to trust the Gungan).  Palpatine makes a rousing speech promising to lay down the power that has been granted to him when the conflict is over.  [Liar!  And further disturbing note, this is very similar to how Adolf Hitler gained power in Germany].  Yoda will go to Kamino and Windu will take what Jedi he can to Geonosis to rescue Obi-Wan.

Luckily, Padmé firmly tells Anakin she is going after Obi-Wan, so if he wants to continue protecting her, as ordered, he will have to come with her.  They find a droid factory on Geonosis and almost make it through, even R2-D2 and C-3PO get in on the action, but the couple is captured.  They declare their love for each other, considering there is a good chance they’re going to die soon and share a kiss before taken into the large arena (sweeping love theme!)  Obi-Wan quips they did a good job of rescuing him.  Dooku announces that the three will be executed and three animals are released.  Padmé quickly makes it to the top of her tower (cause she was smart and snuck a lock-pick into her mouth); she’s showing up the men.  All three manage to get free, notwithstanding any injuries.  But droids roll out.  Countered by Mace Windu holding a purple lightsaber to Jango Fett’s throat, the cue for dozens of Jedi to enter. 

Battle commences.  Everyone gets in on the action, Padmé picks up a blaster and R2 has to rescue 3PO.  Jango and Windu face off and Windu decapitates the bounty hunter (with his son watching; I think the Jedi Master does regret it).  Dooku calls for a halt when the droids seem to be winning, offering the Jedi a chance to surrender.  Windu refuses for them to become bargaining chips.  “Then my friend, you will die.”  Not so fast, Yoda to the rescue with the clones.  Now it’s clone versus droid with the Jedi taking the lead.  Anakin, Padmé, and Obi-Wan follow after Dooku.  Unbeknownst to them, Dooku has secret plans for the ultimate weapon [and that picture should look familiar] in his possession.  The trio’s carrier is knocked about and Padmé falls out.  Obi-Wan insists to Anakin they continue with their mission (except he hasn’t missed what his Padawan’s reaction implies).

Obi-Wan and Anakin face off against Dooku [his fighting style is influenced by the fact that Christopher Lee was trained in fencing (Three Musketeers, etc)]  Anakin rushes in and Force lightning quickly throws him into a wall.  Obi-Wan lasts a few minutes against the master swordsman, but two cuts put him down.  Anakin leaps to his master’s defense.  For a moment he even has two blades, then they fight in dim lighting (call forward to some duels in the originals), but Dooku cuts off his arm (and I think he even regrets that for a moment).  Yoda hobbles in to face Dooku, who turns out to be his own former Padawan.  They’re equal in knowledge of the Force, so it comes down to skills with a lightsaber.  And Yoda jumps everywhere!  Just a blur of green!  Dooku can sense he’s losing, so turns his attention back to the fallen pair and tries to bring machinery down on them.  Yoda saves them, but that allows Dooku to escape.

Dooku meets with Lord Sidious on Courscant, revealing that he himself is now a Sith, named Darth Tyranus.  Everything is falling into place as Sidious planned.  The military parade outside the Senate building is ominous (paired with a very familiar theme).  Yoda sadly announces to Obi-Wan that the Clone Wars have begun (hinted at back in the original film).  And Anakin and Padmé secretly get married on Naboo.

There are elements of the film that I like; of course the music is amazing. As much as I may not like the love story between Anakin and Padmé, or at least how poorly it was developed, the love theme, Across the Stars does make me think of a grand romance with a hint of yearning; it’s just perfect for that deep passionate kiss…I mean, you could use it as inspiration for any favorite pairing.  There is a dramatic bit in the middle that signifies that all is not wonderful and happy in love.  (At times it does sound a bit similar to Fawkes the Phoenix from the soundtrack of Harry Potter and the Chamber of Secrets; the movies were released the same year and shared a composer; we’ll forgive him).

The arena scene is probably the best of the movie; very cool to see that many lightsabers.  Again, compared to the original trilogy, this is when the Jedi are at their height.  And it was fun to see how our main trio each fought their monster.  The duel between Dooku and our heroes was a bit of a letdown; he defeats Anakin and Obi-Wan fairly swiftly, though certainly left his mark (and it makes another connection between him and Luke).  Yes, it was rather cool to watch Yoda finally duel.

Often the middle movie in a trilogy will suffer a bit, because the set up has occurred, but you don’t get to the pay off yet (this occurred with Dead Man’s Chest).  Spoilers for those of you who have not managed to actually watch the rest of the series.  We know that a Clone Wars occurs during Obi-Wan and Anakin’s lifetime, though this was not how I was expecting it to occur; I always thought that the Jedi were fighting against the clones.  We know that Anakin at the very least sleeps with someone if not outright marries them and they clearly set that up back in Phantom Menace.  But what is supposed to be the main focus of this film, the developing love between Anakin Skywalker and Padmé Amidala falls flat.  There’s no chemistry between the couple.  Their conversations about feelings are almost painful.  Anakin feels he is entitled to Padmé because he had a crush on her as a boy and has thought of her for ten years.  She still sees him as that boy she helped rescue.  They just seemed forced together because it’s “supposed” to happen; and it’s Star Wars so there’s got to be some other action. 

We all kind of fall in love with Obi-Wan a little more; well, a portion of the fanbase at the very least.  Man, I love sarcasm.  Or quips.  Or snark, whatever you want to call it.  I appreciated all the bits thrown in to connect to the original films.  And yeah, we can now clearly see where design elements of the Empire originated, lot of clone influence.

For me, not the best Star Wars film, but better than basically all of the sequel trilogy…we’ll get to that rant in due course.  What are your thoughts?

Up Next: Revenge of the Sith

“Maybe we could get back to saving the day”

Season Four

The Library and its Librarians has survived the ultimate battle against Apep.  Now, they’re past the point of prophecy; anything could happen.  Like odd priests (led by John Noble, best known as Denethor) uncovering large stones in Dark Secret.  These turn out to be the original cornerstones of the Library of Alexandria.  Flynn and Eve are practicing a bonding ceremony, led by Jenkins; they will tether the Library to this world and also gain immortality.  An alarm warns them of the cornerstones and Jenkins leads them to a cell beneath the Library, holding Nicole Noone; Flynn’s Guardian from  Quest of the Spear.  Turns out, they she got thrown back in time during that mission at the end of the film and at some point along the way, gained immortality herself.  Jenkins [rightly] does not trust her, but Flynn wants to speak to her alone.  She tries to get Flynn to doubt the Library; it’s keeping him prisoner.

In the meantime, the other Librarians track down the cornerstones before the Heretic Church of Shadows can plunge the world into another Dark Age.  Stone is excited to visit the Paris Opera House and a brief shout out to Phantom of the Opera.  But, they lose the stone and the Shadows try to bring the Library back to this world in order to destroy it.  Nicole ends up helping out and Flynn has to save her.  But she disappears at the end.

In Steal of Fortune, one of Jake’s friends gets a bad string of luck at a horse track.  Actually, a lot of people have been experiencing bad luck.  The Librarians figure out it is the statue of “Lady Luck” come to life.  They manage to rig the casino and she begins to lose her powers and revert back to a statue.  We meet Ezekiel Jones’ family in Christmas Thief.  They had no clue he was a world-class thief.  He accidentally shows his mother the Annex and the Magic Door globe, which she uses to rob the Bank of Thieves.  Ezekiel gets found out and they’re about to be terminated; for it is run by the patron saint of thieves, who happens to be Santa’s brother.  Yes, Santa has entrusted the three Librarians to guard his sleigh, which of course, they take out for a spin. Christmas is almost ruined, but Jenkins saves the day.  And Ezekiel reveals that he would steal things so he could donate the profits; roads, schools, and hospitals got built.  It is far better to give, than to receive.

Silver Screen is rather fun; Flynn and Eve go on a date to see one of her favorite black-and-white detective films.  And end up sucked in.  They have to play out the rest of the story in order to leave; and it’s a bit hilarious at times, and they enjoy themselves.  But the film does not end the way Eve remembers.  Jenkins tracks down the solution; the writer’s secretary had written the story in order to reveal her own daughter, but it got covered up (mother and daughter are reunited in the end).  And the other three Librarians travel through other films (Stone gets to sing, and then they end up in space).

A town turns old in Bleeding Crown and a former Librarian jumps through time to help.  Flynn fanboys for a bit over Darrington Dare, which is rather sweet.  But Darrington warns Flynn that the Library can only have one Librarian; more than one and the in-fighting will destroy the Library.  And say hello to Porthos again (Howard Charles); he plays the villainous wizard .  Their relationship apparently inspired Holmes and Moriaty; they are nemesis, and the only people in each others’ lives.  The wizard is attempting to create clones, but they age really quick, so he plans to steal the souls of others to stabilize his creations.  Darrington is willing to let the other Librarians die, but Flynn will not.  They are his friends and just as important as the Library.  And his talk to Darrington actually influenced Darrington’s life; he was fated to die the day he returned to the past, but they discover that he changed his ways and lived a longer, fuller life.  But he still warns Flynn there can only be one Librarian.

Eve meets up with Nicole in Graves of Time; she wants to help a fellow Guardian.  Nicole has been using her graves (she faked her death every twenty years to avoid suspicion) to hide an artifact.  Flynn and Jenkins follow them; Jenkins still does not trust Nicole.  Eve and Jenkins get captured by the old man [if he looks familiar, he’s played by Christopher Heyerdahl {Thor Heyerdahl was his father’s cousin; blame my brother for me recognizing the surname} and he’s appeared in Scorpion, MacGyver, Castle.  He’s Marcus in Twilight and oh yeah, Alastair in Supernatural] following Nicole, who claims that Nicole was a follower of Rasputin and caused the downfall of the Romanov family.  Actually, he was Rasputin and immortal.  He stabs Nicole, but Flynn feeds Rasputin radiation in order to kill him.  Jenkins believes that Nicole was protecting the Library, so he siphons off his immortality to save her.  Sadly, the episode ends with Flynn gone and his tethering ring left behind.  Jenkins feels Flynn has resigned and now the fate of the Library is in question.

The team finds a mystery in Disenchanted Forest; people have been disappearing.  The neighboring team-building camp plans to expand and this forest is connected to all other forests.  It finds its mouthpiece through Jacob.  DOSA even agrees to help protect the land, granting it “Area 51 Status.”  Jacob had also befriended a reporter who got fired for writing about magic and the Library.  So she doesn’t feel like a complete lunatic, Jacob shows her the Library, but she cannot reveal the secret and Jacob cannot be with her.  In Hidden Sanctuary, Cassandra leaves the Library for the safest town in America; she froze during a recent mission and it’s been haunting her.  So now, she wants a safe life without people depending on her.  And she enjoys her life, but she also uncovers a mystery.  The town councilman had once made a wish after saving a fairy that no one would have accidents again.  Cassandra’s arrival through the Magic Door weakened the spell containing the fairy, but she talks the fairy down, with some help, from wreaking vengeance upon the town.  Cassandra luckily returns to the Library.

Town Called Feud hosts a Civil War reenactment, focused on brothers who served on both sides, then ended up killing each other.  During this year’s event, a ghost appears and says “the brothers are rising.”  Cassandra stays back with Jenkins, to have high tea and some research (it’s rather adorable), so Eve takes Jake and Ezekiel to investigate.  A locket played into the legend, supposedly broken and will now be attached.  Jake and Ezekiel start arguing, like brothers do; there’s also the underlying tension that one of the three remaining Librarians will need to tether to Eve to protect the Library.  The two brothers’ ghosts indeed rise, as do their armies, and take over the town.  Jack and Ezekiel aim guns at each other, but miss.  As do the armies.  Turns out, the brothers had reconciled on the battlefield, to protect their families.  “The world needs brothers being brothers.”

Jenkins faces his own trials with Some Dude Named Jeff.  Jeff bought a grimoire online and used a spell to trade places with Jenkins.  He and his friends play a D&D campaign as the Librarians and Jeff wanted to have a cool life.  So Jenkins must get out of Jeff’s body and back into the Library.  He reluctantly recruits Jeff’s friends to get him in the back door.  The other Librarians eventually figure out that Jeff is not Jenkins, but before they could do anything, the grimoire released Asmodeus [yep, character appeared in Supernatural as well, a prince of Hell].  Jeff and Jenkins battle side-by-side and trap the prince again.  And Jenkins has gained some new friends, who are very interested in his tales of Arthur’s Court.  As long as he gets to be the dungeon master do they do it right.  A fairly light-hearted episode.  Which is good because…

Events begin to come to a head in Trial of the One.  The Library is reverting to protecting only its artifacts, since Eve has not chosen a Librarian to tether with.  It takes over Jenkins and has the three Librarians fight to the death to decide who will tether.  Eve fights back and brings the Librarians together again, but Jenkins is mortally wounded.  The three Librarians all resign over Jenkins’ death.  Stone no longer trusts the Library; for Ezekiel, the Library crossed a line; and Cassandra hates the Library now.  Nicole pops in and circles a grieving Eve.  This was all Nicole’s plan (we knew Jenkins was right not to trust her) to destroy the Library.  She feels the Library betrayed her.  The Library fades around Eve.  She arrives in a black and white world in Echoes of Memory.  She uses the memory palace technique to focus on specific aspects of the Library to keep it in tact; the Spear of Destiny, the Ark of the Covenant, and the lion statues.  Flynn’s tethering ring gives her a clue and she stumbles across a recorded message from Flynn.  He did not leave the Library of his own violation; Nicole kidnapped him.  Flynn loves Eve and was ready to tether.  But now Eve has to find Flynn; and the other Librarians.

This world is run by “the Company” [and reminds me a lot of 1984; I hated that book] and everything is blah.  No one seeks knowledge.  Eve finds Jake selling beige cars, but sparks his memory of the Library.  They find Cassandra next, still working complex math problems.  Ezekiel runs the only show in town, but still likes to pick locks.  Eve is captured by Nicole and put in a mental hospital, where everyone else who questions things is put.  Eve finds Flynn who has held on to his own memories, despite several attempts by Nicole to wipe his mind.  She’s trying to hang on to the man she had fallen in love with and had hoped for centuries would rescue her.  Eve finds Flynn and they share a kiss.  Eve remembers the Library now and Flynn vows to never leave her or the Library ever again.  And she still loves this nice, cute, and completely crazy man.

The other three begin to remember their gifts and mount a rescue for Eve and Flynn.  They’re soon trapped however, but Eve encourages them to manifest the Library where they stand.  It’s full of art, science, and magic and it values each Librarian.  It lives in each of them and Flynn is the heart and soul of the Library.  Nicole can only watch as the Library returns and her plan fails.  While our heroes are back in the Library, Jenkins is still dead.  But Flynn won’t give up; he has a crazy idea to rewrite history just enough.  He jumps through a portal to the moment when Nicole will take the immortality potion and he begs her to help the Library.  He cannot rescue her, but she is still the Library’s Guardian.  She agrees and Flynn wakes up back at the tethering ceremony rehearsal, from the beginning of the season.  He re-wrote everything that happened.  Eve remembers, but the other three don’t.  The couple asks Jenkins (who is alive, huzzah!) to perform the ceremony now, don’t wait for the solstice.

I’m glad things worked out alright, but I’m not fond of the Nicole plot.  I wasn’t terribly fond of her in Spear of Destiny because she was often dismissive of Flynn.  This season was a bit of a letdown after the previous season.  I know there was no big bad to defeat, but there are plenty more stories and artifacts to explore.  This felt a bit like a cop-out.

There have been a few tie-in novels published: The Lost Lamp, The Mother Goose Case, and The Pot of Gold.  I recommend them all!

And of course, there is some rather good fanfiction stories out there.

Check out Hedgehog-O-Brien on AO3 for some trio Librarian fluff.

And icarus_chained weaves in some mythology and introspection on Jenkins.

Up Next: Air Force One

“In sleep he sang to me/ in dreams he came/ that voice which calls to me/ and speaks my name”

The Phantom of the Opera

The longest running musical in history; it premiered in 1986 and celebrated its 25th anniversary in 2011, only one year after Les Mis.  The most well known Andrew Lloyd Webber production, it is based on a French novel which has undergone numerous other iterations, including a black and white film from the twenties.  Michael Crawford was the first Phantom, chosen by Webber, though he originally thought Webber meant him for Raoul (I know someone who insisted that Colm Wilkinson was the best Phantom; I say let Colm have Les Mis and allow Michael Phantom), and Sarah Brightman was the first Christine (and married to Webber at the time; the part was essentially written for her…considering she is one of the few women to hit those high notes).  I knew the music of this show long before I fully knew the show or saw a rendition of it.  My mother is a fan of Andrew Lloyd Webber’s music and played them for my brother and I at a very young age.  I can recall hearing an instrumental version of Music of the Night playing in the background at the school library in fifth grade, and knowing it.  I did get the Original Cast recording, which includes a libretto and I learned the storyline that way.  In high school, my friend planned an impromptu party and took me to see the movie after a break-up.  It was actually perfect, since I already loved the show, though I have not seen it on stage.

A film was made of the famous stage show in 2004.  Gerard Butler was cast as the Phantom (not the best casting choice), Emmy Rossum (a child opera performer with the Metropolitan Opera) was Christine, Patrick Wilson was Raoul, Miranda Richardson (Rita Skeeter in Harry Potter) was Madame Giry, Ciaran Hinds (Aberforth Dumbledore, Amazing Grace, and Macne Rayder in Game of Thrones) was Firmin, Simon Callow (the Duke of Sandringham in Outlander, Shakespeare in Love, Charles Dickens in Doctor Who, and would later appear in The Man Who Invented Christmas) was Andre, and Kevin McNally (Mr. Gibbs in Pirates of the Caribbean) was Buquet.

The opening of the film appears in black and white; an auction at an old Parisian opera house in 1919.  An old gentleman bids on a monkey music box.  Then lot 666 (rather ominous) is next, a repaired chandelier which featured into the famous “Phantom disaster;” a mystery never fully explained.  As the chandelier rises, the iconic organ blares and the film moves into color as lights flicker on.  We are taken back to the same opera house in Paris in 1870.  Everyone is preparing backstage at the opera house, rehearsing a production on Hannibal.  Carlotta is the star soprano.  Rehearsal stops for a moment when the two new owners are introduced; the previous owner is retiring.  They also have a Vicomte as their patron.  One of the ballet dancers recognizes the Victomte as her childhood friend, Raoul.  Carlotta is a true diva; she stops production again and threatens to leave when the owners take more notice of the dancers than her, including young Christine Daae, the orphaned daughter of a well-known violinist.  Her friend, Meg’s mother is Madame Giry, in charge of the dancers.  The owners quickly learn to grovel to Carlotta.  She will sing the aria Think of Me.  Then a backdrop nearly falls on her.  The cast blames the accident on the mysterious Phantom of the Opera.  This time, she’s leaving.  Madame Giry recommends Christine can perform the role; “let her sing for you, monsieur; she has been well taught.”  And she indeed has a lovely singing voice.  She is transformed from chorus girl to the star of the show.

The Vicomte now sees her and recognizes his friend; she certainly has changed. (I have always considered Think of Me as Christine singing to Raoul: “We never said/ our love was evergreen/ or as unchanging as the sea/ but please promise me/ that sometimes/ you will think of me.”)  Christine earns a standing ovation and a deep, unseen voice also congratulates her.  Meg looks for her later amongst the celebrations.  She finds her friend in the chapel and inquires where Christine learned to sing.  Christine calls him her Angel of Music, promised to her by her father.  Really, she believes that it is her father’s spirit, though she is a bit frightened by him.  Raoul visits later and wants to take Christine to dinner to celebrate, but her Angel is very strict.  A mysterious black-gloved hand locks her door.  Then she hears music and a figure in the mirror.  She is drawn forward.  Raoul hears the voice through the door, but cannot enter.

original phantomThus begins the titular Phantom of the Opera (and most famous track of the entire show).  The Phantom, Christine’s Angel of Music, draws her down below the opera house to an underground lake.  He poles a boat across to his quarters, where there is a shrine to Christine.  But she is still transfixed, the Phantom’s “power over you/ grows stronger yet.”  The Phantom asks Christine to sing and she progresses higher and higher (eventually hitting an E two octaves above middle C).  The Phantom further seduces Christine with his voice in the darkly romantic Music of the Night [my favorite piece].  As an adult, you realize how creepy the Phantom truly is, declaring that young Christine belongs to him.  “Close your eyes/ and surrender/ to your darkest dreams/ purge your thoughts/ of the life/ you knew before.”  He shows her a mannequin of herself, decked out in a wedding dress.  She faints and the Phantom lays her on his bed; reminder, she is in her undergarments and a robe.

Above ground, Meg looks for her friend and even finds the passage, but her mother stops her.  Madame Giry also stops Buquet from telling the cast a scary story about the magical lasso.  She warns to keep your hand at the level of your eye.  Christine does awake and takes the mask off the Phantom.  He keeps a hand over his face and yells at Christine; now she cannot ever be free.  This whole experience is Stranger Than You Dreamt It.  The Phantom feels he is a gargoyle who burns in hell, yet secretly yearns for heaven.  He urges Christine that fear can turn to love (yep, really creepy).  She returns the mask and the Phantom returns her.

The following morning, Firmin and Andre discuss the previous evening; Firmin is certain that any publicity is good and will earn them money, “gossip’s worth its’ weight in gold.”  Andre is more cautious.  And they both have notes from the mysterious Phantom, demanding a salary and giving critique on the performance.  Raoul enters with a note as well, telling him to stay away from Christine.  Carlotta enters as well with a note warning her against replacing Christine; she figures Raoul sent it, obviously Christine is sleeping with him.  Madame Giry reports that Christine is home, sleeping.  And another note; the Phantom instructs Christine to play the lead in the next production and Carlotta will play the silent role.  Carlotta is upset and the owners are wondering why they are constantly hearing about Christine now.  The characters all sing over each other, and the owners now have to grovel to the Prima Donna again, insisting that her public needs her.  Carlotta is the definition of a diva.  And everyone knows it.

The next performance features Carlotta in her lead and Christine as the secondary role.   During the show, Buquet spot the Phantom and goes to investigate.  The Phantom’s deep voice echoes throughout the entire theatre demanding that Box Five was to be kept open for him.  Christine on stage says she knows it’s the Phantom.  Carlotta snidely remarks “your part is silent, you little toad.”  That gives the Phantom an idea.  During their pick-up of Poor Fool Carlotta begins croaking (we did see her voice spray bottles switched earlier; in the show that does not happen; the Phantom has magical powers).  She runs off in terror and the owners declare Christine will take on the role after a short break.  For now, a distraction, the ballet from Act Three.  Buquet continues to chase the Phantom, until he is chased by the masked man.  A noose is wrapped around his neck and he drops to the stage, dead.  Girls scream and Christine finds Raoul, claiming the roof will be safe.  She is now truly frightened of the Phantom; he has proven he will kill.  Raoul vows to protect her.  All I Ask of You, Christine says, is for Raoul to love her.  “All I want is freedom/ a world with no more night/ and you, always beside me/ to hold me and to hide me.”  The couple kisses.  But the Phantom is hidden and overhears everything.  He is angry that Christine is refusing him and seeking another man.  He shouts, “you will curse the day you did not do/ all that the Phantom asked of you!”  In the show, we return to the stage and the Phantom drops the chandelier at Christine’s feet.  In the movie, the couple simply exit the roof.

masquerade pair (2)The second half of the performance begins with a Masquerade.  The cast celebrates several months of relief and peace from the Phantom.  In the movie they are dressed in black and white, though they are in colorful garb in the show.  Christine and Raoul have secretly gotten engaged.  But the Phantom appears to ruin their fun.  Why So Silent, did you think I had left for good?  He has written a new opera, Don Juan Triumphant, along with more notes.  Carlotta must be taught to act, Piangi must lose some weight, and Christine must return to him for further instruction.  He hisses to her that she belongs to him and steals her ring.  Raoul follows the Phantom through a trap door, armed with a sword, but disoriented by a ring of mirrors.  Madame Giry rescues Raoul and takes him to her room to reveal the truth of the Phantom.  Years ago, when she was studying to be a ballerina, there was a traveling fair.  One of their exhibits with the “Demon’s Child,” a young boy who usually wore a bag over his head in a cage.  Until he was beaten and the bag removed, showing a disfigured face.  Giry felt bad for the boy, so even after she sees him strangle his tormentor, she helps him escape and leads him underneath the opera house.  And that is where he has stayed.  She claims he is a genius.  Raoul argues it has turned to madness.

Raoul has taken to sleeping outside Christine’s door, but she sneaks past him to visit her father’s grave.  The driver is hit over the head and replaced, but he comes to in time to tell Raoul where the young woman has gone.  Christine pleads Wishing You Were Somehow Here Again, desiring guidance from her father.  Then the doors of the mausoleum begin to open and a voice calls to her, “come to me angel of music.”  Raoul warns that is not her father.  The Phantom leaps out and duels Raoul with a sword [where did he learn to do that?].  The Phantom gets a strike in, but Raoul beats him back.  Christine stops him from killing the other man; “not like this.”  [Not the smartest idea; would save yourself a whole lot of trouble if you just let him.]  The Phantom curses, “now let it be war upon you both!”  (There’s a difference in order between the movie and the show and this part happens a little later in the show)

Raoul has a plan.  It involves using Christine as bait, but he will have the opera house filled with arm police and they will be armed.  They will apprehend the Phantom and all will be well.  Christine is frightened and does not want to do it; worried that the Phantom will take her and she will never be free.  Twisted Every Way, should she risk her life in order to win the chance to live?  Can she betray the man who did inspire her voice?  But she cannot refuse him now, even if she wants to.  Don Juan Triumphant begins, dark and syncopated.  The Phantom takes over Piangi’s role and sings to Christine.  She realizes who it is and signals Raoul with her eyes.  They’ve come Past the Point of No Return.  Christine plays along with the Phantom, rather convincingly because Raoul has tears in his eyes, fearing that his love has actually given into the villain.  The Phantom is certainly trying to seduce Christine, but she wakes up and tears off his mask [okay, in the movie, his disfigurement isn’t that bad; it’s most likely played up on stage].  The Phantom is furious and drops the chandelier into the stage, starting a fire while he makes off with Christine through a trap door, Down Once More.  Carlotta finds Piagni dead.  Raoul, followed by Madame Giry take off after the Phantom.  The rest of the cast bands together to Track Down This Murderer.

Madame Giry leads Raoul so far, but she cannot go further.  Her final advice is to keep his hand at the level of his eyes.  Raoul removes his coat and vest and continues.  He drops into a pool and bars begin to descend.  He manages to open the release valve and pushes forward.  Meanwhile, Christine has changed into the wedding gown for the Phantom and asks if he will enjoy the pleasure of the flesh now.  He agrees that he had been denied that all his live, along with most human compassion.  His face has poisoned her love, he declares.  She retorts the distortion lies in his soul, not his face.  Raoul is captured and demands the Phantom show compassion to Christine (note that the men’s costumes are very similar; the Phantom is most likely attempting to appeal to Christine by mimicking Raoul).  As he ties Raoul to the bars, the Phantom tells him he will not harm Christine; he loves her.  He offers Christine a deal; if Christine agrees to remain with the Phantom, he will let Raoul free.  If she denies him, Raoul dies.  Christine is angry now; any tears she had for the Phantom’s predicament have turned to hate.  The Phantom places a noose around Raoul’s neck.  Really, who does he expect her to choose?  The man who is closer to her age and a childhood friend?  Or the older guy who is very possessive, has murdered at least three people that we know of, has pretended to be her father and wants to sleep with her?  Christine finally comes forward and kisses the Phantom.  He cries.  Then lets Raoul go and orders them to leave; they can hear the mob approaching.  Christine does reappear to the Phantom for another moment to give him the engagement ring (which he stole from her, then gave back in order to marry her, so I’m not sure why she’s giving it to him, since Raoul bought it).  The Phantom smashes the mirrors; one of which reveals another secret passage.  A curtain drops to hide it once he’s gone.  Meg does find his mask; but no Phantom.

The film ends back in 1919 with Raoul placing the monkey music box on Christine’s grave; showing she died two years previous.  Also on the grave is a rose with a black ribbon and the ring.  A pop of color as the rose turns red.

This is another intense musical; it is primarily sung and since it features sopranos, there are several really high notes.  I am not fond of Gerard Butler as the Phantom, not after listening to Michael Crawford all my life.  Emmy is sweet, but doesn’t quite have the full quality in her voice that Sarah Brightman has.  Sarah can still pull off the airy tones, thirty years later.  Patrick Wilson as Raoul is very cute; good casting!  The church I grew up in has a magnificent pipe organ and I have wanted us to perform at least a concert of Phantom of the Opera for years; it would sound incredible!  And if I could have any role, I’d want Christine…aside from those high notes.  Think of Me is a sweet song, but few pieces can ever match the power of Phantom of the Opera.  Music of the Night is seductive and Josh Groban performed it when Andrew Lloyd Webber was honored by the Kennedy Center…I simply melt.  I did help with a rehearsal of Prima Donna when the church did another cabaret presentation of Phantom of the Opera, as Carlotta, meaning I did manage to hit some of those high notes.  It was exhilarating.  I just have to be really warmed up.  For that performance, I did Wishing You Were Somehow Here Again; and I made people cry (in a good way!)  That was also wonderful to hear.  I love singing.  I love singing this music.  Which I can enjoy in the comfort of my car, or shower, or room (and if I miss a note, no one will know!)

All I Ask of You is a lovely duet and Masquerade is just plain fun.  I adore Christine’s and Raoul’s costumes in that scene.  As I’ve gotten older, I have new respect for the tone of Past the Point of No Return.

Up Next: Joseph and the Amazing Technicolor Dreamcoat

 

“I know that there’s a place for us/ for we are glorious”

Greatest Showman

A more recent film based “loosely” on the life of P.T. Barnum. It’s actually not the first musical to be created about Barnum; there is a show entitled “Barnum” that had circus performers outside the door on Broadway. The film version starred a young Michael Crawford. The new 2017 movie stars Hugh Jackman (X-Men, Australia) as Phineas Taylor Barnum, Zac Efron (High School Musical) as his eventual partner, Phillip Carlyle, and Zendaya (Spider-Man: Homecoming and Far From Home, after she was on the Disney shows K.C. Undercover and Shake it Up). It features Rebecca Ferguson (Elizabeth Woodville in The White Queen) as Jenny Lind [her singing was dubbed for the film since her singing chops were not quite what was needed]. Oh, and Charity’s father, Mr. Hallett is played by Frederic Lehne (Azazel/ The Yellow-Eyed Demon in Supernatural, and he was in the episode “Heart of Gold” in Firefly…so no one ever nice).

The film opens with The Greatest Show, Barnum in the middle of a circus ring, but it fades away to reveal the scene was a daydream; a young Phineas is standing in front of a red coat, waiting for his father. He accompanies his father to a large mansion outside of New York City where he makes a young Charity Hallett laugh. Her father reprimands him, but he quickly befriends Charity later, after she sneaks out. They explore an abandoned mansion, dreaming about the world they’re going to make with A Million Dreams. Through the song, life happens. Phineas’s father sickens and dies, Charity is sent to boarding school. Phineas is out on the street and has to steal to survive; he’s caught, but a malformed woman shows him kindness. The two children send letters to each other; but Phineas eventually leaves to make his fortune working the railroad. He returns when they’re grown to marry Charity. She eagerly accepts, but her father warns Phineas that she’ll return home; Phineas will fail and she’ll leave him. The duet dancing between Phineas and Charity is lovely. Phineas wants to give Charity a lavish life, but struggles to hold a job. They have a small apartment that leaks and he is dismissed from an accounting firm when it declares bankruptcy when its fleet of trading vessels all sink.

The Barnums have two adorable daughters, Caroline and Helen. Charity joins in their make-believe adventures. Phineas quickly cobbles together a “wishing machine,” a spinning lantern for his daughter’s birthday and the girls reprise A Million Dreams, which gives him an idea. He uses the document on the shipping vessels as collateral at the bank to buy a museum of oddities. It’s a rough start, until Helen and Caroline suggest he needs something “alive.” Phineas begins gathering acts, like the dwarf Tom Thumb, and the bearded lady, Lettie. There are the trapeze siblings, W.D. and Anne Wheeler, a tattooed man, a fat man, a giant, a “dog boy.” Phineas plays up their oddities to make them “sensational.” “They don’t know it yet, but they’re going to love you.” Patrons start pouring in, “dreaming with your eyes wide open,” and the show starts to Come Alive. Phineas dons his red coat. The show transforms from a museum to a circus, the word courtesy of a critic.

greatest show

The profits allow Phineas to purchase the old mansion he and Charity explored and gift Caroline with her dream ballet slippers. Young girls can be harsh, and look down on Caroline for her father’s business. She wants to quit. Phineas also wants to attract a higher clientele for his show and approaches young Phillip Carlyle. Phillip has the name and reputation amongst the upper-crust, but drinks to forget his horribly produced plays. Phineas takes the young man to a bar to offer him a job on the Other Side and a life of freedom. “But you would finally live a little/ finally laugh a little/ just let me give you the freedom to dream a little.” Phillip eventually agrees and will gain ten percent of the profits. He considers himself a junior partner; Phineas calls him an overcompensated apprentice. And Phillip is instantly taken by Anne.

With the success of his circus, protestors gather. Those who gleefully pointed out the freaks for Phineas now demand they get off the stage. Phillip counteracts this by getting the circus an audience with Queen Victoria at Buckingham Palace. There, Phineas meets Jenny Lind, a world-famous opera singer. Still aiming high and hoping for even more renown, he convinces her to tour America. She stuns crowds with Never Enough. Though with the upper-crust about, Phineas doesn’t want his circus family visible; he shuns them to the back standing room for the performance. Phillip briefly takes Anne’s hand, until he is spotted. Anne walks away. And Charity sees the awe that her husband stares at Miss Lind with. After the show, he refuses to let the performers enter the reception, after he’s embarrassed himself with Charity’s parents.

Instead of taking the back way out to the street, the circus family lets themselves be seen by the fancy patrons, declaring This is Me. They deserve love just like everyone else. But Barnum sees none of it. He decides to take Jenny on tour, despite the fortune it will cost, and leaves Phillip in charge of the circus. Phillip tries to make up his faux pas to Anne by taking her to the theatre. Then his parents spot him and try to shame him for being seen with a dark-skinned woman. If that is his place, to shun her, he wants none of it he tells his parents. He catches Anne readying to practice her trapeze act and declares they should Rewrite the Stars; “nothing can keep us apart.” But Anne knows what it will be like for them, the looks and derision they will have to endure and at the end, walks away.

While her husband tours with Jenny, Charity wonders if anything will ever be enough for Phineas. She warns Phineas that he doesn’t need everyone to love him; just a few good people. She muses she’s walking a Tightrope and we see how everyone tries to get along without Phineas as he lives the high life. Charity still plays with Caroline and Helen; Caroline continues her dance lessons. Phillip tries to take center stage, but has already told Phineas that the audience comes for his craziness. And Phineas has finally reached the top; public acclaim. And now, there is nothing holding him to Jenny Lind. He wants to leave the circuit and return home. Jenny threatens to quit; it won’t hurt her reputation if she leaves, but it will leave Phineas in financial ruin. “If you’re careless with other people, it will bring ruin on yourself.” She cries a bit during her performance of Never Enough and at the end, kisses Phineas on stage, cameras flashing. It’s her goodbye.

At the circus, the protestors are back and refuse to leave. W.D. backs Phillip and a fight breaks out; the whole circus crew facing off against the protestors. One throws a lantern backstage and starts a fire. Phineas arrives to greet his girls and sees the fire engines race to the circus. Phillip is trying to get everyone out, but no one has seen Anne. He races back into the flames. Anne runs out from around back. Phineas runs in after Phillip and the roof collapses. For one horrifying minute we fear the worst. Then Phineas emerges with Phillip in his arm; the young man is taken to the hospital. Anne follows and murmurs the refrain from Rewrite the Stars.

Sitting in the ashes, the critic admits to Phineas that the people loved his show, even though it was not to his taste. And sadly has to inform Phineas of Jenny officially quitting the show, and the scandalous kiss on the front page. At home, Charity is returning to her parents; the bank forecloses on their house. She’s not even terribly upset about Jenny; it’s the fact that Phineas didn’t make the decision with her. The circus family joins Phineas at the bar and urge him to not give up on them. He brought them out of the shadow and gave them a place, gave them a family, a home. They want that home back. From Now On, Phineas will be different; he won’t take what he has for granted. He returns to the Hallett’s mansion to face his father-in-law, who once again tries to keep the showman from his daughter. But Caroline and Helen helpfully point out that Charity is at the beach. The couple reconciles; all Charity has ever wanted is the man she fell in love with. She doesn’t want or need the fancy life Phineas envisioned. Phillip also wakes up in the hospital, slightly surprised to find Anne sitting at his bedside. But she happily kisses him. In front of the whole room.

Unfortunately, the bank will not loan Phineas money to rebuild. But, Phillip was wise and kept track of his earnings and will lend Phineas the money. Except now they are full 50/50 partners. Even though he no longer has a claim or inheritance, he has joy and love in his life and work he adores. Instead of buying more real estate, Phineas figures they just need land, and a tent. The Greatest Show is back! During a quick break, Phineas hands his top hat off to Phillip. The young man is in charge now; Phineas will be watching his girls grown up. Phillip eagerly enters the ring and Phineas rides an elephant (always has to make an entrance) to his daughters’ recital (Helen is a tree while Caroline is the star). Phillip ends the show by kissing Anne.

The show, as is the norm with Hollywood, is not historically accurate. Phineas Taylor Barnum was not really a champion for outcasts. And quite honestly, he was a conman. But we don’t want to see that. Actually, from the trailer, I imagined a bit of a different storyline; I thought they would show Phineas championing for the outcasts. There are times I want to smack him in this story; mainly for his actions with Jenny Lind. He has a wonderful, supportive wife at home, and two girls who adore him and he leaves them. I was annoyed at first by the romance storyline between Phillip and Anne, but I’ve come to see that it’s a nice counterpoint to Phineas’s actions. Phillip tries to hold things together. And yes, he makes a few missteps, but he really wants to have a relationship with Anne despite society’s views.

And I absolutely adore the music for this film. I listen to the soundtrack and I want to choreograph a performance (I have ten years’ dance experience, but no real choreography experience, aside from what I fool around with in the privacy of my room). Greatest Show is an upbeat and fun introduction and conclusion. A Million Dreams is sweet within the show. Come Alive is another upbeat song. I love The Other Side with its underlying rhythm and how it was choreographed involving tables and chairs. Never Enough has its place, though I object that they had it dubbed. There are plenty of talented actresses who could have sung that part. And for an “opera singer,” the style is definitely not opera. Which I get, goes with their aesthetic to use more popular styles of music.

oscars this is me

This is Me is just about the best song ever. Keala Settle is amazing. She originally did not want to play the role for the film, figuring they could hire someone else and she would help with rehearsals. But Hugh convinced her. Check out the behind the scenes videos of the first run through. And her performance on The Graham Norton Show. And the Oscars (seriously, this song should have won; they got robbed). It’s become an anthem for those who don’t feel like they fit in with society. “I am who I’m meant to be/ this is me.” (I have felt like that). I want to perform this song.

I’ve never been a huge Zac Efron fan, but I liked his performance in this film. Rewrite the Stars is a wonderful duet and the trapeze elements were beautiful. And Piano Guys do a beautiful cover featuring cello and violin; the violinist being Steve Nelson’s wife, Julie. They also do a piano cover of Million Dreams (watch the videos; they’re heartwarming). Tightrope is alright. And I like the chorus of From Now On and the dance that starts up. It’s performers having a good time.

I have read several fanfiction stories and the general consensus is to make the circus, the Barnums, and Phillip one big family; I am a sucker for family stories. And we like to pick on Phillip. There aren’t any that I specifically recommend; I think the fandom is new enough that nothing truly serious has developed yet. But they’re worth checking out.

Up Next: Les Mis

“Life’s a martini, and you’re the shaker!”

Down with Love

Not actually a musical, though it features a couple songs. But since Ewan McGregor does sing, I sort of associate it with Moulin Rouge, hence its placement. I was about fourteen when this film came out and I remember my friend asking my mother if I could watch the movie due to the innuendos throughout the film. It stars Ewan McGregor as Catcher Block, Renee Zellweger (she’ll reunite a few years later with Ewan for Miss Potter) as Barbara Novak, Sarah Paulson (she did appear in Serenity) as Vikki Hiller, David Hyde Pierce (well known for Fraiser) as Peter MacMannus, Rachel Dratch (a comedian who appears on Saturday Night Live) as Gladys, Timothy Omundson (Cain in Supernatural) appears as R.J., and Jeri Ryan as Gwendolyn (ironic because she is now Gwendolyn Hayes, MacGyver’s aunt in the new series; also was Seven of Nine in Star Trek: Voyager, and now on the Picard series).

The film opens with a version of Down with Love, in a very Rat Pack sound; the film is set in 1962 New York City. Barbara Novak arrives in New York City, to Banner Publishing where she meets with her editor, Vikki to promote her book, Down with Love. As she explains to the male dominated creative team, women will never be fully equal to men until they are equal in the work force and in order to do that, women need to forget the notion of love and not connect love with sex anymore. They should have sex like men do, a la carte. To aid in this, chocolate helps, as it stimulates the brain in the same way as sex. But the men don’t buy it. Except Vikki has an idea; Catcher Block, star journalist of the KNOW magazine for men will do a cover story on Barbara. But Catcher, a ladies’ man, keeps hooking up with other women and canceling his meetings; until Barbara is fed up and refuses to meet with him in return. They come up with another promotion idea: have Judy Garland sing Down with Love on the Ed Sullivan Show. Sales skyrocket around the world; even in communists countries.

Over at KNOW, owner Peter continually attempts to convince Catcher to do the article; Peter is interested in Vikki. When Barbara denounced Catcher on television as the worst sort of man, Catch is really in trouble. Now he wants to write an expose and ruin Barbara. But to do that, he can’t be himself. He runs into Barbara on purpose at a dry cleaner and adopts the persona, Zip Martin, an astronaut who has no idea Barbara has written a book. They go on lots of dates and Catch plays to be the sort of man who does not have sex.

down with love

There is a split screen scene that is hilarious and full of innuendos. Followed by a crazy sequence where Catch pretends that Peter’s apartment is his so he can impress Barbara; and Peter can use his bachelor pad to impress Vikki. Catch is on the verge of losing Barbara until “Zip” agrees to sleep with her. They both unknowingly attend a party thrown by Peter in Catch’s apartment and the whole enterprise is almost blown. It does get blown on their next date, when Catch starts to secretly record Barbara admitting she loves Catch and wants to marry him. And Gwendolyn the stewardess stops by and exposes Zip as Catch.

Except Barbara already knew that. A year previous, she had been Catch’s secretary and fallen in love; but she wanted more than meaningless sex. So she changed her name and wrote a book and correctly predicted what Catch would do. That way, she got lots of dates and Catch ended up falling in love with her. And everything is almost right; until Barbara now realizes she cannot be a typical woman anymore; she is an inspiration. Meaning, she can’t marry Catch [honestly, by this point I’m confused].

And Catch has fallen in love with Barbara. So when she starts her own magazine, after Vikki has been fired for showing up the men, Catch applies for a job, knowing that Barbara will have to interview him. Except it still seems like they won’t get back together. Until Barbara meets Catch in the elevator, a red head now and agrees to marry him. But they will retain their careers. And in the background, the same goes for Vikki and Peter (ironically, both actors come out as gay a few years later; Vikki hinted that Peter was gay in the film).

The closing credits are my favorite because of the duet between Ewan and Renee; Here’s to Love. Their characters have written a new book by that title; obviously showing how they’re managing to have the best of both worlds. It’s a fun song that shows off the talent of the leads. The film is a light-hearted comedy that I really ought to remember I have when the need arises.  Now that I’m older, the innuendos are hilarious.  Ewan as Catcher is adorable, especially when he pretends to be Zip Martin. The whole plotline around Barbara knowing what she knows and her plan gets a little confusing; but it all works out, and the coincidences are very coincidental. Her breaking the relationship off with Catcher right before the end confuses me as well; when characters realize they love each other and it’s mutual – get together for goodness’ sake!

Next Time: Newsies

“So exciting, the audience will stop and cheer. So delighting, it will run for fifty years.”

Moulin Rouge

I did not watch this until I was in college, because I was uneasy on the subject matter. The film stars Ewan McGregor (voice of Lumiere in the live-action Beauty and the Beast, Down with Love, Miss Potter, Obi-Wan Kenobi) as Christian, Nicole Kidman (Australia) as Satine, and Jim Broadbent (Professor Slughorn, Professor Diggroy in The Lion, The Witch, and the Wardrobe, and Archmaester Ebrose in Game of Thrones) as Harold Zidler. It’s directed by Baz Luhrmann, which is the reason for some of the odd visuals I believe. The story is set at the turn of the twentieth century in Paris, in the Moulin Rouge district. Christian is an English writer who has come to live the Bohemian lifestyle and write about truth, beauty, freedom, and above all, love. His neighbors, who literally crash into his room, are also Bohemians and are producing a play. They ask Christian to fill in since their lead is a narcoleptic Argentinean and Christian manages to help their production by suggesting “the hills are alive, with the sound of music.” (I was shocked this appeared when I first watched the movie; until I realized it was the whole premise of the movie; incorporating modern songs). The rest of the cast loves it and the current writer leaves. But, to put on their play, they need to convince the owner of the Moulin Rouge, Harry Zidler; and to do that, they have arranged for Christian to privately meet the star of the Moulin Rouge, Satine.

What the Bohemians don’t know is that Zidler has arranged for a wealthy Duke to privately “meet” with Satine so he will invest and help turn the Moulin Rouge into a proper theatre, and Satine can become a proper actress. The dancers perform Lady Marmalade (which I enjoy, aside from the creepy older men; but that was the point of the Moulin Rouge) and a Can Can, then Satine descends for Diamonds are a Girl’s Best Friend (with a chorus from Material Girl). Zidler is telling Satine about the Duke, but Christian’s friend Toulouse gets mixed in and Satine believes that Christian is the Duke and takes him back to her room for a “private poetry reading.” Christian tries to recite his poetry, and Satine believes she should be getting riled up…it’s a bit of an awkward, but funny scene, well acted. Then Christian just belts out, “my gift is my song,” and continues with Elton’s John Your Song. Satine is impressed. Then the truth comes out that Christian is not the Duke; in fact, the Duke is waiting outside the door for Satine. So she must distract the Duke while hiding Christian and trying to coax him out; she starts singing Christian’s song. And claims it is from a new show, “Spectacular, Spectacular.”  If the Duke will invest in the new show, Satine will sleep with him, but not until opening night.

spectacular

The Duke leaves, and Satine faints (she’s already fainted once before). Christian attempts to awkwardly put her to bed and the Duke inconveniently walks in. Satine comes to in time to save Christian and with the help of his Bohemian friends and Zidler, they spitball the storyline of the play while singing Spectacular, Spectacular; a courtesan falls in love with a penniless sitar player, but is pursued by an evil maharajah (hmm, sounds like the storyline of the movie; the Duke is not the brightest man). They convince the Duke; “no words in the vernacular/ can describe this great event/ you’ll be dumb with wonderment,” everyone sells.  A little later that night, Christian returns and discusses love with Satine; she is more practical, due to her profession. There is a wonderful medley of love songs, including All You Need is Love by the Beatles, Love Lifts Us Up Where We Belong, and ends in a kiss.

Trouble begins to brew with the Duke; he wants Satine exclusive to him: “I don’t like other people touching my things!” And extra insurance for his investment; he will hold the deed to the Moulin Rouge. The play goes into production. The Duke attends rehearsal as a part of “artistic influence;” but Satine keeps stalling him, or making up excuses for Christian to be around. Satine is still sick at times and Zidler is told she is dying. And he has discovered her dalliance with Christian and tells her to break it off. She collapses again and Zidler has to cover with the Duke. Which leads to an awkward interlude of Like a Virgin.

Satine does talk about the arrangement with the Duke to Christian and he promises not to get jealous. He suggests they include another song in the show, symbolizing that they love each other; Come What May. But one of the other dancers is jealous and hints to the Duke about Satine and Christian. He insists they change the ending; the maharajah will win. Satine sides with the Duke to pacify him and the rest of the performers must wait while she seduces the Duke. Christian does not remain impartial and the Argentinean advises that one should not fall in love with a woman who sells herself; El Tango de Roxanne and the room is filled with the Argentinean tango (love this part). The Duke sees Christian approach and turns on Satine; he comes very close to forcing himself on her, but one of the large men from the show has snuck over and hits the Duke over the head before it goes too far. Satine seeks comfort with Christian and they decide to leave Paris.

The Duke informs Zidler that Satine must break it off with Christian and come to him after the first show; or he will kill Christian. Zidler warns Satine and when that is not enough, informs her that she is dying. If she loves Christian, she must break his heart, to save him. The Show Must Go On they all intone. Christian doesn’t believe Satine and tries to see her again, only to be thrown out in the rain. His friends attempt to comfort him, but once opening night begins, he sneaks back into the theatre. Narcolepsy hits the Argentinean again and Christian takes his costume, intent on paying Satine. They end up on stage and the audience believes it is part of the show. Christian throws the money and walks away. Satine begins Come What May, calling Christian back. The Duke is furious and mouths to his bodyguard to kill Christian. The rest of the cast figures it out and help knock the gun away. The audience still has no clue what is real and what is show and Toulouse shouts out the theme of the movie: “The greatest thing you’ll ever learn is to love and be loved in return.” The show ends on a high note, the Duke leaves. As the curtain drops, Satine collapses again. She gets a few final words with Christian and dies. (The talented Ewan McGregor breaks all of our hearts with his sobs).

The film wraps back to the beginning, a depressed Christian in his room, typing out Satine’s story. With his story, their love will live forever. The end.

Some parts of the show are funny, like Spectacular, Spectacular. I find the Can Can fun; I remember the older girls performing once during a dance recital when I was young.  Now every time I hear Your Song, I think of this film.  Come What May is heartwarming and I still cry at the end every time. This show does not end happily, like typical musicals, thus not really a favorite of mine. There are awkward moments, as already stated, the Like a Virgin. Some people probably like it or find it funny…I’m not one of them. I did like that they used more modern music and wove it in to the story; it attracted a modern audience. The leads were excellent and I was shocked at Ewan’s singing voice; since I knew him first from Star Wars.

Up Next: Another Ewan McGregor film, Down with Love

“We know that when good fortune favors two such men, it stands to reason we deserve it too!”

Fiddler on the Roof

One of those iconic musicals that most everyone has probably heard of. The soundtrack is fun (yes, that is the John Williams listed as the orchestrator; no, he did not compose the music). My high school did this musical the year before I entered. And the community theatre performed it fairly recently; my family went to see the performance because we knew the leading man. The story is set in the early twentieth century in Russia. We begin with a silhouetted fiddler playing on a roof. The story is narrated by Tevye, a Jewish peasant. He remarks that we are all like fiddlers on a roof, trying to scratch out a tune, without breaking our necks (when the high school did its production, they brought in a younger violinist; very good and easier to put on a set). The Jewish community in Anatevka is full of Traditions; each person in the family has a role to play; they know who they are and what God expects of them. The fathers are head of the house, mothers keep the house, sons learn a trade, and daughters learn from their mothers and will marry whomever their fathers decide. We also get a glimpse of their larger world; the Rabbi asks that God bless and keeps the Tsar far from them and the Jews don’t bother the Christians that live next to them and so far, the Christians don’t bother them.

tevyeAt Tevye’s home, Yente the matchmaker visits with a match for the eldest daughter, Tzeitel. Tzeitel’s next younger sisters Hodel and Chava are eager for Tzeitel to marry so they may marry next. But Tzeitel points out the consequences of Matchmaker. They are poor girls with no dowry, they’ll be lucky for any man, not necessarily the perfect match. Tevye arrives home, tired from working and ponders If I Were a Rich Man (and everyone knows the dance for that!)

Changes are coming to Anatevka; a student from Kiev has arrived, Perchik, on top of news of Jews being evicted from their village. Perchik arranges to teach Tevye’s children, in exchange for room and food and accompanies Tevye home for the Sabbath. The tailor, Motel, a childhood friend of Tzeitel’s, also joins in the Sabbath. As the family prepares, Tevye’s wife, Golde, urges her husband to speak to the butcher, Lazar Wolf, who is interested in marrying Tzeitel. Meanwhile, Tzeitel argues with Motel; he needs to ask her father for her hand now, before an arrangement is made with Lazar Wolf; the young couple are in love. Motel is frightened by Tevye and remains silent during the Sabbath prayer.

Tevye visits Lazar Wolf and there is brief confusion on the nature of their conversation; soon cleared up and Tevye eventually agrees to the match. The men celebrate, drinking To Life, “l’chaim!” (This is a fun song!) At the bar, the Jewish men encounter the Russians and there is a back-and-forth between them, melding the dances at the end. [I love this dancing. When I was young, I was part of a Ukrainian dance troupe, friends of my mother’s. At one point, my brother could do some of those moves. The leader from the dance troupe taught the dances to the high school performers and members of the troupe danced during the community’s production.]

On his way out, Tevye is stopped by his friend, the Russian Constable. He warns Tevye that there will be an “unofficial demonstration” made. Come morning, Tevye tells Tzeitel of the arrangement. She cries and begs her father; is his agreement more important than her? Tevye won’t make Tzeitel marry Lazar Wolf. Motel comes by and Tzeitel nudges him to talk to Tevye. The nervous man grows a backbone and stands up to Tevye; the young couple had made each other a pledge; they love each other. Tevye debates (“on the one hand…on the other hand”) and agrees. They are thrilled and rush off. Motel believes that this was a Miracle of Miracles, equal to Daniel walking through the lion’s den. Now, Tevye has to tell Golde. He concocts a dream (this is a weird scene) that Golde’s grandmother visits to congratulate the family on Tzeitel’s (her namesake) marriage to Motel. Golde insists it’s Lazar Wolf. But Lazar Wolf’s first wife appears and vows to kill Tzeitel shortly after the wedding if she marries Lazar Wolf. Golde accepts the dream as a sign.

Tzietel’s sisters are finding men as well. The radical student Perchik charms Hodel and opens her eyes to changes in the world. In cities, men and women dance together. A Russian Christian, Fyetka comes to the aid of Chava when other men bother her. He has noticed she likes to read and offers a book to her; they can discuss it later.

bottle dance

Motel and Tzeitel marry; her parents reminisce to Sunrise, Sunset (a musical theme that appears throughout the film). There is a dance (again, love the music) and the men even perform a bottle dance. An argument erupts from the gifts between Lazar Wolf and Tevye; Perchik breaks it up by dancing with Hodel. Tevye supports his actions and dances with Golde, as well as Motel with Tzeitel. The Rabbi even joins, though he puts a kerchief between his hand and the lady’s. The evening ends on a sour note when Russian soldiers appear and break things. The Constable puts a quick stop to things; sadly, they only turn their attention to the town and smash and burn.

The second act opens with a reprise of Tradition. Some time has passed; it is now autumn and Tevye remarks to God that Motel and Tzeitel have been married for a while. Perchik tells Hodel he must leave, to support the students in Kiev. He, in a roundabout way, asks Hodel to marry him. She agrees. They then ask Tevye for his blessing, not his permission, contrary to tradition. Tevye debates and ultimately blesses their engagement and gives his permission. Perchik gives Tevye the idea to tell Golde he is visiting a rich uncle. The couple have given Tevye a thought; they love each other, so he asks Golde, Do You Love Me? After twenty-five years, they have come to love each other.

In winter, Perchik is arrested at the rally in Kiev and writes to Hodel. She decides to join him in Siberia and bids farewell to her father; her family will always be with her, even if she is Far From the Home I Love. Some happy news comes; Motel and Tzeitel have a new arrival; a sewing machine. Oh yes, and a baby boy as well. Fyetka tries to speak to Tevye, but is dismissed. Tevye warns Chava not to speak to him anymore; some things do not change. She should be interested in marrying a young man of her faith. She resists and tells her father that she wants to marry Fyetka. Tevye refuses. We next see Golde enter the Christian church and ask for the priest. She finds Tevye afterwards and informs him Chava and Fyetka have been married. Tevye tells his wife to go home to their other children (two more daughters); Chava is dead to them. He reminisces on his Little Bird (superimposed with a ballet). Chava finds him and begs her father’s acceptance. “There is no other hand!” Tevye cannot turn his back on his people, on his faith. Chava cries “Papa!”

More bad news comes. The rumors are true; verified by the arrival of the Constable; Anatevka is to empty of Jews in three days. The same thing is happening all over Russia. Tevye argues; they have always lived in this corner of the world, why should they leave? The Constable shouts, there is trouble in the world. Orders are orders! Tevye orders him off his land. One of the villagers asks the Rabbi, would now be a good time for the Messiah? The Rabbi responds, they will have to wait for him somewhere else. The villagers sing of their Anatevka; it wasn’t great, but it was home. Tevye and his family will go to America to family in New York. They hope that Tzeitel, Motel, and their son will be able to join them. Hodel and Perchik are still in Siberia. Chava stops by with Fyetka; they will not remain while the Jews cannot. Tzeitel speaks to her sister and passes on Tevye’s wish, “God be with you.” Chava promises to write. The last scene we see is the fiddler following Tevye’s family.

The first half of the show is far happier than the second half.  When I watch the film, I focus on the first half; it holds more of the fun music.  As I already mentioned, I enjoy the dancing in the show, having a bit of experience in it.  And when you focus on the happy parts; Tevye being frustrated by his daughters choosing their own husbands, which to us is completely normal, it distracts from the historical significance of the story.  Because those bad things happened and they happened a lot (and yeah…in a few decades, get worse).  But hey, they have bottle dancing!  And Tevye makes funny sounds talking to his animals!  And three women daydream about their perfect husband!  (They kind of get what they want, learned and interesting men, but not in the way they imagined and they all have to give something up, like financial security and family).

[Historical note: the term “pogrom” appears early in the show and refers to the persecution or massacre of an ethnic or religious group, mainly Jewish. A bit of foreshadowing in the show. I learned the term during my Honors’ Holocaust class in college.]

Next Time: Another iconic musical; Annie

“Simple and sweet…and sassy as can be!”

Seven Brides for Seven Brothers

This is a favorite of my mother’s (she was starting to wear the color out on the tape before we got the DVD) and has become one of my favorite musicals as well. My mother took me to Pittsburgh to see it on stage as a treat in high school. A few interesting facts: was produced by the same studio as Brigadoon and outperformed it. And there was a brief 80’s show based on the story and starred Richard Dean Anderson (original MacGyver). The film stars Howard Keel (a staple of musicals in the 1950s) and Jane Powell. Russ Tamblyn (Riff from West Side Story) is the youngest Pontipee brother, Gideon. The story is set in 1850 in the Oregon Territory.

Adam Ponitpee is the eldest of seven brothers and comes to town to trade and find himself a wife. As he looks over the ladies of the town, his deep voice belts out Bless Your Beautiful Hide and finally settles on Millie when he spies her chopping wood and serving food to half a dozen men. She agrees to the hasty wedding, happy to get away from the inn. On their way through Echo Pass to the back country, she sweetly sings Wonderful, Wonderful Day. Then she gets an unwelcome shock at the house in the form of her new husband’s six brothers. They’re all filthy and the house is a mess. The Pontipees’ parents named their children in alphabetical order with Bible names: Adam, Benjamin, Caleb, Daniel, Ephraim, Frank (short for Frankincense, since there really wasn’t an “F” name in the Old Testament), and Gideon. Adam leaves Millie to get to work. At dinner she finds out they have deporable manners and shoves the table over: “if you’re going to act like hogs, then you can eat like hogs!” She refuses to let Adam sleep with her on their wedding night, angry that he let her carry on about her dreaming of caring for only one man and not correcting her. He decides to sleep in the tree and she takes pity on him; When You’re in Love, but Adam crashes into the bed. (Don’t worry, this isn’t the typical ‘love at first sight’ story).

The next morning, Millie starts her chores; she’s already washed the brothers’ outer clothes and demands their underwear they sleep in before they can have breakfast. They must also wash and shave. A pleasant surprise; she’s married into a handsome family of red-heads. And being without clothes means the brothers have to behave nicely in order to get food. They’re so taken with their new sister they all accompany her to town and are determined to get girls for themselves. But being backwoodsmen, they don’t know who to talk to girls, so they get into a fight with local townsmen. Millie takes them home and teaches them Goin’ Courtin’. The girls in town all have several men chasing after them, so the Pontipee brothers need to have proper manners.

barn dance

A few months have passed and the family heads back to town for a barn raising. Millie makes the brothers promise not to fight and they start pairing off with the local girls. I love the Barn Dance, with its swirling skirts, bright shirts, and acrobatic tricks [this is how real men dance]. It becomes a competition between the Pontipees and the townsmen for the girls. Frank is a superb dancer. The girls choose the Ponitpees at the end. Then it’s another competition between all the men to raise the barn. The townsmen get back at the brothers by hitting them with hammers and wood, resulting in a big fight, once Adam scolds his brothers for being too weak. However, at the end, the women tend to their townsmen.

Gideon asks his eldest brother for advice and Adam reprises When You’re in Love, but ruins the moment by telling his brother that one woman is just like all the rest. Winter descends on the farm and the brothers are pining for their girls; they’re like a Lonesome Polecat. (The scene was shot all in one shot and features Ephraim [Jacques d’Amoise, on loan from the New York City Ballet]). Adam comes to their aid with the tale of Plutarch’s Sabine Women, or Sobbin’ Women. They decide they’ll be “just like them there Merry Men,” and steal their brides, because the Sabine women were ultimately happy and if it worked for the Romans, it’ll work for the Pontipees. And that’s what they do, capture the girls from their homes and ride back to the farm. The townsmen pursue, but the girls’ screams cause an avalanche in Echo Pass and they won’t be able to get through until spring.

Millie is furious when they arrive back home. The girls are crying, missing their families. Millie orders that the girls will stay in the house and the men will stay in the barn. Even Adam. Adam won’t stay in the barn when he has a rightful wife; he’ll pass the winter at the hunting cabin. Gideon tries to get Millie to stop him, but she tells her brother-in-law, Adam has to lean that he can’t treat people like he’s done. At first, the ladies are angry with the men and play tricks on them. But they start softening as winter carries on and eye the men when they come into the house for supplies. Yet, being stuck in the house together for so long, they eventually get in a cat fight. Millie breaks it up, announcing she’s pregnant. Then the girls begin to fantasize about their own weddings and babies and you know, “oh they say when you marry in June, you’re a bride all your life.” There’s a little dance, acting out the ceremony.

All at once, it’s Spring, Spring, Spring and the women pair with the men, marveling at the baby animals that have come out. And Millie’s baby comes, a little girl. Gideon goes to Adam again, to persuade him home. Doesn’t he want to see his own daughter? He even hits his older brother. Adam sends Gideon back; he’ll be home once the pass is open. When he does come home to name his daughter Hannah, picking up where his mother left off, it means the townsmen are on their way. Adam persuades his brothers to take their girls back; they won’t marry the brothers if it comes to a fight and one of their kinfolk are hurt. But the girls don’t want to go back and hide from the brothers. That’s how they’re all found and the townsfolk are ready to hang the brothers, until they hear a baby’s cry. All of the girls claim the child is theirs, so their new sweethearts won’t be killed. The film ends happily; Adam and Millie have reconciled and the parson performs a six-way shotgun wedding. The fathers are actually standing there with their shotguns.

Millie sure is a spitfire, whipping all the Pontipee brothers into shape. She corrects Adam’s and his brothers’ misleading thoughts on women. She does the work, but she also wants to be treated properly. June Bride gave me the idea originally that I’d like to marry in June (I have since changed my daydream). The dancing is phenomenal; I especially like Frank during the Barn Dance. Overall, it’s a happy show.

Next: Another favorite in our house; White Christmas (Yes, I know it’s out of season and I usually hate that, but it fits now)

“I Used to Be a Rovin’ Lad”

Brigadoon

My senior musical, once again in the ensemble, though I had a four-word solo in a big chorus number. My mother made my costume, so I would actually look Scottish and not American colonial (seriously, the costumes came with mop caps). Overall, I was just happy we were doing a musical about Scotland, but part of me was also disappointed I didn’t actually have a part. I already knew this show going in. The film stars Gene Kelly (most famous for An American in Paris and Singin’ in the Rain, but a staple of musicals in the fifties and sixties) as Tommy Albright, a New Yorker, hunting in Scotland with his friend. They get lost and discover the mysterious village of Brigadoon. Gene Kelly was also the choreographer of the film and thus it features a lot of incredible dancing. The musical was written by Lerner and Loewe, just as prolific as Rodgers and Hammerstein.

As the mists clear around Brigadoon at the start of the show, a quiet chorus sings Brigadoon. The show really starts with MacConnachy Square as the town rises for the day, selling their wares. And today is a special day; the wedding of Charlie Dalrymple to Jeanie Campbell. At the Campbell home, the young women are preparing. They talk about Jeanie Packing Up (which was not included in the film) and Jeanie’s older sister, Fiona remarks that she is Waitin’ for My Dearie.

The hunters, Tommy and Jeff, enter the village square truly perplexed not only at people’s dress, but Fiona was the only friendly person. Charlie however is thrilled and invites the strangers to his wedding, for he will Go Home with Bonnie Jean (this is a fun song). Fiona stops by the square for items for the wedding and takes Tommy out to find Heather on the Hill. While she is gone, Charlie stops by the house to sign the family Bible and sings to his intended, Come to Me, Bend to Me (very romantic, and sadly not included in the film). Local flirt, Meg Brockie takes Jeff for a nap, then makes a fuss when he doesn’t want to sleep with her, for she was trying to find The Love of My Life (also cut from the film, apparently too risqué).

brigadoon dancing

Tommy is quite taken by Fiona and remarks to Jeff when they meet up, It’s Almost Like Being in Love. However, he begins to take note of people mentioning a miracle and a blessing and finds the dates in Fiona’s family Bible. She takes them to the schoolmaster, Mr. Lundie, who tells them about Mr. Forsythe, the minister, praying to God for a miracle to protect the village from witches in the eighteenth century. [Historical note: not sure the person who wrote this musical quite figured out their timelines; the Battle of Culloden (those who watch Outlander will understand the significance) happened in Scotland in April of 1746 and this miracle supposedly happened in May of 1746 and witches were not as prevalent…maybe the English trying to take over their land. Witches might be a more reasonable cause a hundred years prior]. Carrying on, God granted a miracle, that Brigadoon would disappear into the mists and appear once every hundred years; when the villagers go to bed, it’s one year, when they rise the next morning, it’s a hundred years later [don’t think about the math too much or you realize bad things]. If someone from the outside wants to stay, they must love someone enough to leave their old life. But a villager can’t leave, or the whole village will disappear forever.

And this is where Harry Beaton causes a problem. He’s in love with Jeanie Campbell, who is happily marrying Charlie Dalrymple. The clans gather for the wedding, all clad in tartan (though if you want to see true Highland garb, watch Outlander; yes, tartan breeches were a thing, a weird thing, but nonetheless, real. Oh yes, and further historical note: it was after the Battle of Culloden that wearing tartan was outlawed, thanks to the English). And it is true Scottish custom that there need not be a minister present at a wedding, as long as the two being married share mutual consent [this has popped up in Scottish romances; women cannot be married against their will]. There is a dance, including a lovely one by Jeanie. Then a sword dance (real thing, and also cut from the film, boo). Harry participates and runs off after seeing Jeanie happy, shouting he will leave Brigadoon and doom them all. Tommy joins the men in The Chase, hunting Harry Beaton down before he can ruin things. Jeff has wandered off to hunt and thinks he’s shooting at a bird. Harry is the one who falls down dead.

Meg Brockie entertains the wedding guests with the tale of My Mother’s Wedding Day, until the men return with Harry (this is all cut from the film; Fiona and Jeanie’s father tells everyone to keep quiet and not disturb the joyous occasion. Another cut song by Tommy is There But For You Go I). Tommy is ready to stay in Brigadoon, until Jeff tells him what happened. Tommy begins to doubt enough that he won’t stay. But once he returns to New York and his fiancée, he cannot concentrate. Little words will remind him of something and he ignores what is going on. Tommy breaks it off with his fiancée and drags Jeff back to Scotland. He gets a miracle of his own; the town was just starting to disappear and he can enter. As Mr. Lundie remarked, “if you love something enough, anything is possible.”

The music in this show is fun, especially the songs that were cut; upon re-watching of the film, I had never noticed that they weren’t in the film. It features, as many other musicals do, a couple falling in love at first sight; which I always argue is never a good way to start a lasting relationship, or least, not a believable one. Gene Kelly is of course, a remarkable dancer and his partner is skilled as well.

Up Next: Seven Brides for Seven Brothers