By Corey Creekmur, Linda Mokdad
This can be the 1st comparative attention of the musical's position inside nationwide cinema traditions. whereas the musical is one cinema's few certainly foreign genres, it has frequently functioned as an explicitly neighborhood or nationwide shape, drawing upon special traditions understood as 'native' instead of 'international'. concurrently, musicals from all over the world have usually imitated Hollywood types, leading to their effortless dismissal as culturally 'impure' and demonstrating the artistic and ideological pressure among selling and leaving behind conventional cultural kinds and types. This effective stress among neighborhood and international components lies on the middle of overseas movie musicals, which generally recognize the dominant Hollywood version whereas claiming their very own cultural specificity.
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Extra resources for The International Film Musical
Sample text
However, when the British film industry attempted its sporadic assaults on the American market, producers such as Michael Balcon were happy to emulate the structure and format of the Hollywood musical. The most important and successful were those films starring Jesse Matthews, including Evergreen (1934), First a Girl (1935) and It’s Love Again (1936) (Thornton 1974). Largely rejecting the parochial concerns that dominated domestic musical comedies, Matthews’s films, with their bigger budgets, more lavish sets, and location shots in continental Europe, were designed to have international appeal.
With a directorial contribution from Alfred Hitchcock, an attempt is made to provide some continuous running comedy gags and the film makes clever use of colour tinting to differentiate workingclass music-hall acts from the more up-market performances from London’s West End theatre, but it is clear that this format had limited appeal at a time when film was developing ever more sophisticated narratives. However, the novelty of synchronised sound ensured that revue films such as the prescient Television Follies (1933), Radio Parade (1933), In Town Tonight (1935) and Calling All Stars (1937) found a place within British cinema programmes for much of the 1930s, a decade in which ‘popular music was a powerful and persistent influence in the daily life of millions’ (Nott 2002: 1–2).
Largely rejecting the parochial concerns that dominated domestic musical comedies, Matthews’s films, with their bigger budgets, more lavish sets, and location shots in continental Europe, were designed to have international appeal. For Britain in the 1930s, Europe resonated with an exotic otherness, a quality that was exploited in the musical operettas that featured Austrian Richard Tauber, such as Blossom Time (1934) and Heart’s Desire (1935), and the Polish tenor Jan Kiepura in Tell Me Tonight (1932) and My Song for You (1934).