vincente minnelli

*Content Warning* *Brief discussions of blackface and yellowface*

This month, we return to post-war Metro Goldwyn Mayer to discuss the glamorous Technicolor extravaganza, Ziegfeld Follies. Friend Laria and I scrambled our way thru this behemoth of a revue, but managed to forget only ONE player's name. Basically, if you love queer films made for the straights, this is for you!

You can write in at disneyreeltoreel@gmail.com or follow host Wyatt @goldenafternoon51 and @disreeltoreelpodcast on Instagram!

References:

Crowther, Bosley. “The Screen; 'Ziegfeld Follies,' an Elaborate Revue, Opens at Capitol-- 'Sherwood Forest Bandit,' 'Spider Woman' Film Here.” The New York Times, The New York Times, 23 Mar. 1946,  https://www.nytimes.com/1946/03/23/archives/the-screen-ziegfeld-follies-an-elaborate-revue-opens-at-capitol.html.

Levy, Emanuel. Vincente Minnelli: Hollywood's Dark Dreamer. St. Martin's Press, 2009. Book.

lostvocals8. “Ziegfeld Follies 1946 - Lost Original Opening.” YouTube, YouTube, 2 Mar. 2013, https://www.youtube.com/watch?v=J6y73l3ITfg&t=192s.

Schechter, Scott. Judy Garland: The Day-by-Day Chronicle of a Legend. Taylor Trade Publishing, 2006. Book.

“Ziegfeld Follies.” Festival De Cannes, https://www.festival-cannes.com/en/films/ziegfeld-follies.

Bring some snacks and buckle up because we're hittin' the road with Lucille Ball and Desi Arnaz! That's right, we're covering a quintessential summer classic: The Long, Long Trailer (1954)! A newlywed couple decides to take their honeymoon on a trip across the western country in a new mobile home...only for it to become a pretty "rocky" adventure.  We touch upon how the "I Love Lucy" comedians conquered the big screen, why the road movie genre is a recipe for success, and what we love about tiny houses/school bus renovations. This sweet comedy ~"wheel"~ have you rolling with laughter! 

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A LONG TIME AGO IN THE 1954 MGM MUSICAL BRIGADOON:

• New York City gents Gene Kelly and Van Johnson are lost in the Scottish Highlands! They want to shoot some birds, but instead stumble upon a village that’s not on the map… Brigadoon!
• Everyone’s dancing around the town and preparing for a wedding that evening; meanwhile, sister of the bride Cyd Charisse gets to fall in love with Gene Kelly on the heathery hillsides.
• But something’s weird, and it’s not just the fake Scottish accents, the very tight tartan trousers, the two-dimensional mountains and all the day-drinking: it’s that the village is under an enchantment whereby it only appears on one day every hundred years, and it will disappear forever if anyone tries to leave.
• Then someone tries to leave!
• Then Gene Kelly and Van Johnson have to leave before the village goes sleepy-byes for another hundred years. But Gene left his heart behind...
• Lucky for him, there’s a special wake-up-Brigadoon-early clause buried deep in the small print of the enchantment, because of course there is.

Join Jenny Owen Youngs and Helen Zaltzman to investigate the 1954 MGM musical Brigadoon and its many, many mysteries, such as why choose an enchantment with SO many downsides, how Logan Echolls might have seen this, seriously why such a self-owning enchantment, whether the village's crops and foods stay fresh during the 100-year sleeps, and COME ON THINK THIS ENCHANTMENT THROUGH BEFORE CONDEMNING YOUR WHOLE VILLAGE TO IT.

For more about this episode, and to read the transcript, visit the podcast’s official site VMIpod.com/brigadoon. VMI will now take a pause; to keep posted about what's coming up on the show, follow @VMIpod on Twitter, Instagram and Facebook and sign up for our mailing list at vmipod.com/vmimail.

This episode was edited and mixed by Helen Zaltzman; the music is by Martin Austwick and Jenny Owen Youngs.

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Welcome to another special Sarahfest bonus episode of Swerve South! In this episode, Theresa is joined by author William Boyle to discuss Vincente Minnelli’s 1956 “male-centric” melodrama, Tea and Sympathy. The film centers on Tom Robinson Lee, a sensitive young man who finds himself at odds with the hyper-masculine, conformist culture of his all-boys boarding school. Struggling to fit in with his classmates, Tom instead finds companionship with his headmaster’s wife, Laura, and over the course of the film, her role in Tom’s life evolves from maternal figure to romantic interest. Theresa and Bill dig into the film’s Lynchian qualities that reveal the violence and sordidness lying just beneath the surface of its idyllic 1950s New England setting. Often seen as a minor film in Minnelli’s oeuvre, this fascinating conversation pays homage to Tea and Sympathy’s searing indictment of toxic masculinity, tender exploration of identity, and covert depiction of queerness.