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Dangerous Rhythm: Why Movie Musicals Matter (Anglais) Relié – 31 juillet 2014

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Descriptions du produit

Revue de presse

This is a book by someone who is indeed captivated: a love letter for the best of musical cinema and a blown raspberry for the worst... (The Spectator, Sam Leith)

Richard Barrios's survey of the genre dives vividly into all its contradictions, its seemingly accidental triumphs, and its most effortful, well-meant failures. He knows the litany of films inside out, and there's not much that gets past him: the book is somewhere between a stern celebration and a wake...He has sharp words for every scar on his weathered, ageing, occasionally miraculous art form. And rightly so. (The Telegraph, Tim Robey)

Barrios knows his stuff, and musical film aficionados are well advised to get a hold of Dangerous Rhythm. He combines vast knowledge of the subject with tangy writing, resulting in a hard-to-put-down read. (Matthew Kennedy, author of Roadshow! The Fall of Film Musicals in the 1960s)

Few people can discuss early-talkie musicals and television's Glee with equal authority. Richard Barrios sees it all as part of a continuum, which is what makes his wide-ranging book so relevant. His sense of humor and lively prose style transform a scholarly treatise into a highly enjoyable reading experience. (Leonard Maltin, film critic and historian.)

Simultaneously a rigorous dissection of and a valentine to the movie musical. (Milwaukee Journal Sentinel)

[A] hugely readable, authoritative meditation on the Hollywood musical. (Philadelphia Inquirer)

[Barrios] writes about his subject authoritatively...and always directly. He does so with an absence of heavy theorizing and an abundance of strong opinions. Part of what makes Dangerous Rhythm enjoyable to read is its idiomatic prose. (Wall Street Journal)

Barrios knows this material inside out, which allows him to step back to make often inspired observations. (New York Times Book Review)

Over the years, there have been many books written about the American film musical, ranging from the superficial to the academically analytical. Few have the sheer readability - and concentrated insight - of Dangerous Rhythm, an enjoyable (and highly informative) volume. (Barry Forshaw, DVD Choice)

Présentation de l'éditeur

Insightful, witty, as exuberant as its subject matter, Dangerous Rhythm offers a fresh, revolutionary take on a uniquely American institution: the movie musical. In a book that is at once history, analysis, investigation, and meditation, noted film historian Richard Barrios takes on the entire musical spectrum, from Al Jolson and The Broadway Melody to hip-hop and Les Misérables. Over nine decades, the musical film has been a cornerstone of the entertainment world, yet its existence has been more erratic that any other type of film. Barrios delves deep into the genre, uncovering what makes it a commercially and artistically successful art form that, despite falling in and out of favor with the American public, has a firm and enduring hold on the American cultural imagination. Each chapter focuses on a core issue relating to the musical film: what does it take to make a successful musical performer? What is the relationship between film musicals and Broadway musicals? How does the rise of certain types of popular music, such as rock or rap, affect how the musical film is received? Through it all, Barrios argues definitively and irresistibly that, as the book's subtitle asserts, movie musicals matter -- yet, as the title implies, they are terribly difficult to do well. But when they are right, they transport and captivate viewers, striking deeply resonant chords of identification and wish-fulfillment, as well as or better than any other kind of movie.

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Amazon.com: 15 commentaires
10 internautes sur 11 ont trouvé ce commentaire utile 
A Kaleidoscopic Examination of Movie Musicals 7 mai 2014
Par Ron Titus - Publié sur Amazon.com
Format: Relié
Not satisfied with just writing about the birth of musical films (A Song in the Dark - 1995), Richard Barrios looks at the importance of movie musicals of all types via a kaleidoscope of lenses. In twelve short chapters, an introduction, and epilogue, he discusses the past and future of movie musicals, the origination of the concept of the musical, who have been the stars, the role of music versus plot, etc., not neglecting animated musicals and television musicals.

The book and the chapter titles all come from song titles or lyrics sung in a movie musical which is an example of how Barrios infuses a quirky viewpoint into this series of essays. He also provides informative footnotes that add interest without slowing the reader with extraneous information. Each chapter is a different lens on movie musicals with focus on a specific aspect such as animated musicals or musicals on television; the reader is not compelled to read the chapters in sequence, but is free to skip to what interests them.

Dangerous Rhythm reads easily and has appropriate and interesting illustrations. Barrios writes well for the general reader, providing a list of his sources but not documenting enough to be considered as a serious scholarly tome. He has his own lists of movie musicals he like and dislikes. As is often the case in these types of books, he does miss certain musicals. How important that is depends upon your love for that musical.

In the end, Dangerous Rhythm provides provides plenty of fodder for discussions. Read it, and start yours!
5 internautes sur 5 ont trouvé ce commentaire utile 
Fascinating Rhythm 3 juillet 2014
Par Moshe Bloxenheim - Publié sur Amazon.com
Format: Relié Achat vérifié
Author Richard Barrios has always had a knack for providing the history and the stories of different areas of the American Film Industry in ways that are informative, fascinating and engaging. "Dangerous Rhythm" continues in this vein - not so much as a historical summing up, but instead Mr. Barrios gives a very thoughtful look at the Hollywood Movie Musical and its place in both the film industry and in American culture. Different musicals are examined and often compared with films from other studios and times to show the way Hollywood developed (or mishandled) ideas, how different connections, events and trends could bring success or disaster and why the Movie Musical has always been a very unique creation.

While I certainly must praise Mr. Barrios' thoroughness in covering his subject, I really appreciate his ability to share his enthusiasm with the reader. Even the footnotes have a level of zest which demonstrates that "Dangerous Rhythm" is no mere book of scholarly observation but a good, solid and entertaining work that can be read and reread with pleasure. There are going to be many films that I will now watch in a whole new light.
4 internautes sur 4 ont trouvé ce commentaire utile 
Dangerous Rhythm Matters! 2 juillet 2014
Par Larry D - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I am a lifelong fan of the Hollywood musical. I have believed movie musicals matter since I was 10 years old. And while I have not written an opinionated critical history of the movie musical, if I were to write one, I could only hope to come up with something as enjoyable and thought-provoking as Dangerous Rhythm. Mr. Barrios' obvious affection and respect for the genre is apparent on every page. He's got 87 years to cover and he makes no attempt to mention every film, every performer. If you, too, think movie musicals matter, you will no doubt find a favorite movie conspicuous by its absence. But make no mistake, he gets the high points - the movies important for artistry, financial success, influence or any combination thereof, are given their due; from "The Jazz Singer" and "Love Me Tonight" to "The Wizard of Oz" and "Singin' in the Rain", with a tip of the hat to spectacular flops like Jolson's "Say It With Song" and the Village People vehicle "Can't Stop the Music". While we don't see eye-to-eye on everything (He loves Maurice Chevalier, whom I cannot stomach), even where we disagree, Mr. Barrios' arguments are always well articulated and reasonable. (I still don't care for Chevalier, but I understand why Mr. Barrios does.) I smiled and whispered "Yes!" when "the joyous and under-appreciated Donald O'Connor" was finally given some of the respect he so richly deserves. (Come on, he wipes the floor with Gene Kelly in the "Moses Supposes" number.) And I had an "Aha!" moment when I learned that the not-untalented but utterly blank Lucille Bremer, inexplicably starred in far too many big-big MGM musicals in the 1940s and 50s, was a "friend" of uber-producer Arthur Freed. Seldom have I read a more enjoyable combination of scholarship and dish.
1 internautes sur 1 ont trouvé ce commentaire utile 
Love the content...hate the print quality 10 juillet 2014
Par Paul E. Hemmer - Publié sur Amazon.com
Format: Relié
I love the content as much as I've loved musicals since I was a kid in the 1950s. I still remember being the only 12 year old in an almost vacant theater watching Funny Face, then racing to the record store to buy the soundtrack. My only problem with this book is the exceptionally small type that is also not very dark. It's eye strain to the nth degree. The publisher should have spent a few more bucks to increase font and buy another few gallons of ink.
1 internautes sur 1 ont trouvé ce commentaire utile 
Come sing along with me! 11 août 2014
Par Retired2009 - Publié sur Amazon.com
Format: Relié Achat vérifié
Perfect birthday/holiday gift for a theater and movie buff. It was wonderful reminising with the old well-remembered songs. It also sent me off to iTunes to download a few too!
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