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Dangerous RhythmWhy Movie Musicals Matter$
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Richard Barrios

Print publication date: 2014

Print ISBN-13: 9780199973842

Published to Oxford Scholarship Online: May 2014

DOI: 10.1093/acprof:oso/9780199973842.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 07 December 2021

Where Do They Come From (and Where Do They Go)?

Where Do They Come From (and Where Do They Go)?

(p.37) Chapter 2 Where Do They Come From (and Where Do They Go)?
Dangerous Rhythm

Richard Barrios

Oxford University Press

This chapter charts the constantly fraught relationship between musical theatre and musical film—mutually dependent, often hazardous, sometimes respectful, occasionally disastrous. It considers musicals from The Desert Song in late 1928 to Anything Goes and Show Boat in 1936, to Annie Get Your Gun and My Fair Lady and Evita and onward to Les Miz. The chapter then examines the difficulties—and potential rewards—in adapting theatrical shows onto film. The chapter looks at the problem of too much fidelity or too little, the question of how many songs should be retained, problems related to length, the conflicts between realism and stylization, and the relative merits of perceived staginess versus those of cinematic potential.

Keywords:   stage musicals, The Desert Song, Rio Rita, Anything Goes, Cabin in the Sky, Annie Get Your Gun, My Fair Lady, The Sound of Music, Evita

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