O Brother Where Art Thou Full Movie the Pirate Bayh
I love musicals, merely I love musical climaxes fifty-fifty more. No, not like that, get your listen out of the gutter! I've always enjoyed movies that take either the climax of the story, or at least a major plot point, circumduct around a musical number, particularly when information technology is unexpected. I don't mean in musicals, but in movies that otherwise take no musical numbers and are not near music. In other words, not movies like Crazy Heart, Ray, or A Prairie Home Companion, all of which are in some way virtually music.
I too don't hateful scenes fix to music, either as a montage or to set the mood for the scene, similar in Rocky, The Breakfast Club or Cruel Intentions. I'm non fifty-fifty talking about musical climaxes that are the obvious result of the plot, like in Dirty Dancing, Sis Act, or Little Miss Sunshine. What I'm talking about are moments when characters in otherwise not-musical movies have some sort of musical performance/dance number/song that resolves their issues, expresses their feelings, or advances the plot in a way that's unique compared to the residue of the pic, and is often unexpected or completely surprising. Here are some examples of what I mean:
Back to the Future
This one is well known to everyone, of class. It's also the climax to Marty'south (Michael J. Pull a fast one on) character arc, one of the three principal plots. Only moments before he resolved his parents' story, and immediately after this is the climax to the time travel plot, only this moment of musical bliss is all most the growth of Marty's character. He starts the film as a hopeful musician, just to be shot downwardly in his hopes to play at the schoolhouse band. He fears he's turning into his father, then afraid of rejection that he chooses to merely give up and never human action. But by this point in the film, he'southward found a new confidence, inspired in function by seeing his parents in a new lite and realizing that at that place is more to them than he would take guessed. Watching his father knock out Biff and get the daughter on his own claim energizes Marty to sing "Johnny B. Goode" as an expression of his cocky confidence, a declaration of understanding to his parents and a manner for them to relate to him fifty-fifty if only subconsciously. And if he happens to inspire Chuck Drupe in the procedure, all the better.
(500) Days of Summer
This 1 is more of an bodily "musical climax," and is well-nigh everyone's favorite moment from the moving picture. It takes place subsequently Tom (Joseph Gordon-Levitt) sleeps with Summertime (Zooey Deschanel) for the first fourth dimension, and is a literal estimation of the feelings that go on with that moment. It'due south both sugariness and hilarious, and marks an important point in the human relationship and a turning point in the plot. Of grade, the picture is told out of order, and then it's followed immediately by a bad time in the relationship, but the juxtaposition makes the number that much better.
The Artist
The very final scene in the pic, this tap dance both resolves the conflict of the story and expresses the emotions of the characters perfectly. It'southward a rebirth for silent moving picture star George Valentin (Jean Dujardin), who has found a style to reinvent himself in the era of movies with sound. (I wish the video had his one line of dialogue at the end, which explains everything.) The dance is a celebration of life, peculiarly important after Valentin's suicide near-attempt, and an expression of the new partnership between him and Peppy (Berenice Bejo).
Babe
This scene, one of my all fourth dimension favorites, is non exactly a climax, but it is a turning signal in the story, where the bond between Farmer Hoggett (James Cromwell) and Babe is finally cemented. It's the moment when Babe realizes that he has a place in the earth, and a purpose, and that he's loved. Without this moment, there would be no, "That'll do, pig," at the terminate. Information technology's ane of James Cromwell'due south finest moments on flick, all the more impressive in that it's played opposite an animatronic pig.
Lost in Translation
For a while, Lost in Translation was my favorite motion picture. It spoke to me in a time when I really needed it and helped me through. This scene comes in the eye of the picture, at a turning indicate in the human relationship between Bob (Nib Murray) and Charlotte (Scarlett Johansson), when they realize how much each of them means to the other. The fact that this realization comes in the heart of karaoke, with a shared look of understanding and connection, makes it all the sweeter given the vocal that he'due south singing.
To Sir, with Beloved
Sometimes music is the only manner to fully express what you feel.
Who Framed Roger Rabbit
I wish the video was better for this ane. Eddie (Bob Hoskins) has spent the entire flick with an combative view towards Toons. He and his brother were detectives together in Toontown, loving how much it fabricated them laugh, until Eddie's brother was killed by a Toon. Ever since, he'due south been unable and unwilling to smile or laugh, until this moment. It'southward by far the almost ridiculous motion picture moment on this list, merely it besides says a lot about his character, and how he's coming to terms with his feelings. Total credit goes to Bob Hoskins for completely selling his office in the film and this scene in item; the gritty realism he brings really helps footing the otherwise zany film. Merely to notation, Back to the Hereafter and Who Framed Roger Rabbit were both directed past Robert Zemeckis.
O Brother, Where Fine art Thou?
This one may exist adulterous a flake, since O Brother, Where Art Thou? is full of music. However, I would argue that it'due south non most music, nor is the final performance of "Man of Constant Sorrow" what the film has been edifice to.O Brother also interrupts the musical climax with the resolution of one of its plots. This performance fits into the film's parallel to Homer'south Odyssey, symbolizing Odysseus' arrow through the axe rings, a feat which just he can practise and which wins him back Penelope.
Ferris Bueller'south Twenty-four hour period Off
I saved the best for terminal. This scene is in my pinnacle five movie scenes of all time. By now, the story of the product is fairly well known and has become legendary on its own. John Hughes snuck Matthew Broderick on a float in the almanac Von Steuben Twenty-four hour period parade in Chicago, and filmed live much of what nosotros see, including 18-carat reaction shots from the crowd. The guy dancing on the scaffolding? That's a 18-carat reaction to the music. Information technology's the sort of thing that can be faked with a lot of effort, merely will never come off as genuine in the way that this scene does.
What's more interesting is that while this scene is both the perfect embodiment of the film and the grapheme, information technology's pretty much the opposite of the first scene on my list from Back to the Future. Ferris Bueller does not grow or change at all during the film. He's the protagonist, but he exists to drive the plot and to entertain but has none of the defining character moments expected from the lead part in a story. All of the growth is left to Cameron, who has major issues to bargain with, and Ferris is but the catalyst for Cameron'due south growth. In many ways, Ferris is to Cameron equally Jack Sparrow is to Volition Turner. Ferris is a "monster from the id," and is finally able in this moment to set Cameron gratuitous for the first fourth dimension. It's the moment where Ferris is able to successfully rebel against Cameron's assertion that he's seen "nada good" during his day off. It is unexpected and wild and everything that a great musical climax should be.
What practise you call up? Do you have a favorite musical scene in a not-musical picture show? "Tequila" in Pee-Wee's Big Chance, maybe? Is there anything huge that I missed? Or would you rather everyone merely keep their songs and dances out of movies where they don't belong?
Source: https://thelovepirate.net/2013/04/10/analysis-the-musical-climax/
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