The Promised Movie Review

Dear friends, fans, phans, theatre people, and other fabulous people (or chickens),

Allow me to show you a picture. 

I can hear your gasps now--what is this phenomenon? Surely they are not making Phantom of the Opera into--of all things--an animated movie?  

Alas, the answer is no. For better or worse, we're stuck with Karimloo as the best Phantom for now. Oh well.  Yet I still beg your attention for this great little film. Un Monstre à Paris is one of the best non-Barbie, non-Disney animated films I've ever seen. Which actually isn't that many. I guess that makes this one even more valuable, right? 

A Monster in Paris, to use the English title, is a French animated movie from 2011, with Vanessa Paradis and Matthieu Chedid (Sean Lennon in English) voicing the roles of Lucille and Francoeur, respectively. It is seriously underrated. I heard of it from a Youtube playlist, of all places. This is ridiculous. I should have had people clamoring from all sides for me to see this musical/movie. Since a sad lack of popularity seems to be its fate, I believe perhaps a brief summary is in order.

A musical genius is shunned and mocked and hunted in society through no fault of his own in 1910.

  

He finds his way into the dressing room of a young singer with brown curly hair who wears a lot of white. She is often referred to as an 'angel.' At first she is frightened of him, but when she hears his beautiful voice she overcomes her fear and grows to have affection for him, even singing with him on stage (he wears a white mask to hide himself). 

 Meanwhile a young man named Raoul is trying to renew his childhood friendship with the singer, though he is interested in a bit more than friendship at this point.

Raoul and his infamous straw coat

 Lucille is kept busy hiding her genius alternately from the bumbling proprietor and prominent guests of the cabaret, Mme. Carlotta, and two gentlemen, one tall and one short. 

Eventually a citywide hunt for the 'monster' begins, and he disappears seemingly without a trace (actually there's more, but you'll have to watch it for that). 

 I don't know about you, but I've never heard anything quite like that before.

...      

So maybe it borrows liberally and unashamedly from Leroux's novel, but this lovely film relies on more than stealing from Gaston Leroux and Andrew Lloyd Webber--it's got plenty of fun elements of its own, in *both* languages. 

First of all, I would like to draw your attention to the songs. "La Seine" is the most prominent (I suspect because it gets stuck in everyone's head the most). As noted, it's catchy and fun. I don't care for the English version so much--I have a hard time telling Lucille and Fracoeur's voices apart, but both versions are still  lovely. If you look up a translation of the French words, Fracoeur's verse is actually addressed to Lucille. I found this adorable. There are a few other songs, but the title song "A Monster in Paris"--Francoeur's heartbroken solo song--is the one that stands out the most. As a musical theatre fan, I love movie musicals. Ones that don't have to be previewed/edited are even better. As a sensible person and a six year old at heart, I appreciate the fact that there aren't *too* many songs. This movie has the movie/music balance just about right. 

Another awesome element to this movie is that it is a French film. I'm a studious student of French. I need French stuff. My sister is a French student. She needs French stuff.  My other siblings are bored. They need French stuff (all right, maybe we did watch it in English. Whatever). The fact remains, however, that it's a great opportunity to study another language/culture through a familiar, non-boring medium. My younger brother has picked up part of the chorus of "La Seine" ("Je ne sais, ne sais, ne sais pas pourquoi") from hearing the song in French and English. I often use those phrases in conversation, and he was able to pick up and apply a bit of a language that he isn't officially learning yet. Yay for multilingual experiences. 

The biggest reason this movie is so great, though, is that it's just plain fun.  Sure, it contains elements from a dark-ish story, but it still stays mostly lighthearted and doesn't take itself too seriously. The characters are great

Emile and Maud, the adorable subplot that I forgot to mention

--how can you not love a guy who names his delivery truck Catherine?

--and while the story's often funny, it has its 'feelsy' moments too. Lucille is the queen of sass. Emile and Maud are absolutely adorably awkward. And Francoeur...well. Let's just say you have never been as attached to a flea, nor are you ever likely to again. I like Francoeur. Francoeur is cool. 

 Plus, there's actually a happy ending, which is more than I can say for the source material. 

While it is a kids' movie, I think a paraphrase of Lewis is suitable here--if you won't watch a movie when you're all grown up and in high school, you shouldn't watch it when you're ten. Which basically means that big kids can do little things too.Or something. 

In short, this is a great little film. It's not Frozen, and it's not Phantom, but it combines elements of both into an hour and thirty minutes of enjoyment. To quote AVPM, it's 'totally awesome.'   

Now if you'll excuse me, I'm going to go seek out Lucille cosplays. I know they're out there somewhere... 

(I am not allowed to use deliberative oratory in the review for class, but no one said anything about here. Guys, this movie needs attention. Go watch it. Make your siblings watch it. Spread the madness!)

   

"Oh look! It's tomorrow!"

...that's what happened when I started this post, and it's also the reason you didn't get any post today. Or yesterday. Whatever.
Time and timing aside, here is the next in the Four Fandoms in Progress. Your clues were, Musical. Girl. Misunderstood.  

a random picture of Eponine to prevent spoilers in people's feeds

...which totally doesn't cover every hit musical ever.
All right, here's a better clue: it rhymes with Cricket. Kind of.
Guessing game's over!

 

When I first heard of Wicked, I must confess I rolled my eyes, as I usually do with misunderstood villain-type plots.  I just don't care for them, and they're usually quite far-fetched, if not just wrong. I've never been a huge fan of The Wizard of Oz, to my knowledge (though I read a few of the sequels and enjoyed them), and a musical spin-off explaining why Dorothy was really the villain seemed a bit unnecessary.
Ha. hahaha.
I'm still no expert on Wicked--I've never seen it live, I don't own anything related to it, and I don't really have an extensive knowledge of every Elphaba ever.  But I have watched the entire play, thanks to a bootleg video on Youtube, and my fellow family members keep singing some of the songs ceaselessly. That's a good sign, right?
 I was concerned about the magic at first (see my concerns about HP) but 1. Elphie obviously has a natural talent for magic, which I'm fine with, and 2. This is Oz, not Earth. So, with my conscience satisfied, and with the recommendation of several of my closest friends, and my math teacher, of all people, I set about checking it out (la! A rhyme!).
Let me say this: my mother will probably never like this musical. Here's why--there's no movie or concert recording that she can watch. There's no way for her to see/understand the whole thing (I think we all agree that needs to be fixed ASAP). The other reason is the style of the music--it's that Broadway belting style that grates on her nerves so badly. It does take some getting used to, and Idina does make my spine do a weird little dance (and not in a good way) with some of her vocal manipulations. Oh, and did I mention that it's Popu-lar (see previous post about my family's attitude towards hype)?But I can live with that. However, mother dear, if you can't, I completely understand. And I apologize for all those times you have awakened from slumber with "I'm flying HIGH, DEFYYYYING GRAVITY!" already. Those times are probably not over, alas.
So, some random bits...
~~like I said, I haven't seen clips of every cast ever (yet), but my favorites right now (and possibly forever) are these gals:

 
~~I also like Alli Mauzey's Galinda, even though she is frighteningly giddy sometimes...

 ~~speaking of Galindas, I also like what I've heard of Annalene Beechey

 ~~I adore the costumes in this musical, particularly--you guessed it--G(a)linda's. Here is a couple of lovely posts about the costumes.  The Popular gown and the Bubble gown are particularly lovely.
I even attempted to replicate the spirit of the "Popular" gown for Halloween. It was all very last-minute and the sweater, alas, was necessary because of the chill in the air. And my curls are unfortunately not visible.

with my dear friend Gabbi, who used to have a lovely Elphie braid but chopped it off before I was interested in this crazy thing. *sigh*

 And what is this strange thing I find on the internet?

...could this possibly be a BLUE 'Popular' gown?  I need one. 

~~I love that it's a musical about two girls. Not two boys and a girl, not two girls and a boy*, not two girls and two boys, two girls.  And they sing together. It is ridiculously hard to find fun duets for female voices! Usually one of the singers is forced into playing tenor or baritone, which can be mighty straining and unfit for public performance. I had such high hopes for Frozen, but it did kind of let me down in that regard. Wicked, on the other hand, has "What is This Feeling?" and "For Good," one funny, the other serious. I LOVE IT.

*I know, I know, there's Fiyero. But frankly I found him to be the weak spot in the whole thing (unless played by Aaron Tveit). Please don't shoot me.

~~I just really like the story--it's a great look at everything from the power of the media to loyalty and hypocrisy to how (not) to deal with roommates. 

And with that, I am (hopefully) off to watch an installment of the next featured fandom. Here's a hint: unlike the previous one, it doesn't rhyme with Cricket. Happy guessing!

Have any of you lucky ducks seen Wicked? How did you meet this musical? Are you a fan of Fiyero?  

A Question: With Which Miserableness to Start?

As most of you know or have guessed, I am a Les Mizzy. It began back in 2012 when I read the entire book* in our week of pre-Christmas break from CC and Veritas (don't try to do both at the same time. It doesn't work). My family did not see much of me. My introduction to the musical, which I love as much as the book, came a bit later. And now it's in the top 10 quoted things at my house. Anytime anyone asks anything about a sign of any sort, at least four voices chime in ''To rally the people, to CALL them to arms! TO BRING THEM IN LIIIIINE!"
Anyway.
I have a question for all my fellow miserables. If you're trying to introduce someone to the musical who is mildly interested, what means would you choose?
The 2012 film (which I have not seen yet)? I would think it might be a bit graphic and scare people away. And--how can I put this nicely--I have the soundtrack and the singing is not the best I've heard. But it does tell the whole story.

 
The 10th anniversary concert is my favorite overall cast (I mean, Colm Wilkinson as Valjean. Phillip Quast as Javert. How can you argue with that?) but Fantine's wig is terrifying and it (the concert, not the wig) leaves out huge chunks of the plot. *Huge* chunks.

And then there's this:

I do love the 25th concert, HOWEVER (and this is a big however), there's one teeny tiny gaping hole. It has a great cast, great costumes, even a decent set, but it also has this.

The Jonas. It's not that he wasn't a good Marius, it wasn't that he wasn't as good as Michael Ball, it's that he was a BAD Marius and couldn't handle the singing and couldn't handle the acting and couldn't even handle (hold) Samantha Barks's Eponine when she was DYING and...yeah. I don't want to think about it too much. *shudder*
But the rest of the cast is great (Karimloo, people!) and it includes a whole lot more of the recitative  bits than the 10th. So does the Jonas factor o'ershadow the rest as to make it unusable for introductions?

I've heard it suggested that someone read the book or listen to the 1988 recording all the way through. That sounds great, but they both require quite a bit more than the two or three hours that my hypothetical semi-interested person is willing to apply themselves to.

So, which one would you choose? Or do you have another idea?

*well, almost the entire book. After Hugo duped me into reading 200+ pages of Waterloo and the convent, I grew more careful. I skipped the sewers and Parisian slang.

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How to Protect Your Conscience While Fangirling

...between you and me, why can't people think?
As implied in my INTJ fangirl post, I was reluctant to enter the fandom life because, to quote the Parrot Sketch, is seemed 'Silly, silly silly!" I saw (romantically) obsessive posts about characters/celebrities and these people popped into my head...

...and then those who weren't having crushes all over the place were moaning about how they were born in the wrong era/world/whatever and wished a time lord would pop out of nowhere and save them from their meaningless existence.

To be entirely, embarrassingly honest, I went through some of this a while back with the Percy Jackson books. Shhh!

I have such a hard time controlling my tendency to fall into escapism, because, as this picture so eloquently puts it,

Life becomes misery while I pine away after fictional characters and worlds. It's like an eternal pity-party. I really didn't want to go through that again. Ever. So when I started becoming more active on the internet, I decided I would try to stay away from exaggerated media-related mania of all sorts. I would read the books, and that was all.

 Ha. Hahaha.

It didn't work. 

Since I discovered some fellow fans who did not seem quite as silly as the others, I decided to check it out cautiously.

I didn't--and don't, want to consume my media like some people consume soda--pop the lid and guzzle mindlessly. For one thing, it makes you burp. For another, you're drinking high fructose corn syrup and don't even realise it!  Here are a few guidelines I've made and try to keep for myself to prevent falling into empty-headed ridiculosity.* I've even categorized them. 

Real People

~~Don't look up actors' personal lives. You will probably learn way more than you wanted to know and feel melancholy and despairing of humanity the rest of the day. Or week.

~~This is a long one...

Differentiate between what people can do and who they are. Someone's talent/beauty/personality is a gift--what matters about him/her as a person is what he decides to do with it. 

Let's say that you're looking at a portrait. This one will do.

You can admire it on different levels.

You could look at it and think 'that's pretty'--admiring the appearance of the subject.

You could look at it and think 'how did she hold that pose so long? I would get so uncomfortable"--admiring the skill/ability of the subject 

You could look at it and think, 'that's a really interesting outfit and background'--admiring the set and content

You could look at it and think, 'oh wow. Those ruffles are great--how do they look so perfect? gah, I wish I could paint hair like that'--admiring the skill of presentation. 

At this point, unless you are an art expert or Sherlock Holmes, you don't know anything about the subject or painter. You're just enjoying the art for what it is, and not who created it.

I try to watch movies/shows the same way. All kinds of people have been given talent in so many areas, and they don't need to be 'good people' to have and use talent correctly. Don't get me wrong; it's doubly awesome when a good person is a good artist, or vice versa. But all too often people confuse the two.  

trying to avoid this...

I can fangirl about James Barbour's voice all day without for a moment implying anything other than that he has an amazing, well-trained voice.  That doesn't mean I think he's nice, or clever, or a role model. I can blabber on about what a wonderful actor Tom Hiddleston is without sacrificing my romantic ideals to him. I can pin as many pictures of JJ Feild as I like without thinking him to be an exemplary human being. I might just like his ears. And his smirk. Or the fact that he looks like Tom Hiddleston. Moving on...

You get the picture. I may jokingly swoon a lot, but I really do try to keep admiration of celebrities in check. Separation of the talent from the person works really well. Wholehearted admiration, from what I've seen, turns into unhealthy infatuation very quickly. And then you get stuff like this...

Stories
~~Analyze everything. When you like something, find out why.
 When you sort out the pros and cons, you appreciate the good and true in the story, but you also recognize any false arguments the book/show may be pressing on you. Eat the meat and spit out the bones.
Different people have different safe tolerance levels. I can separate the humanistic messages Les Mis might try to send me and concentrate on other themes (grace vs. justice, redemption, charity, etc.), or enjoy Sherlock, despite the language or twisted worldviews, while a friend or family member may not be ready yet--or ever.

You don't have to embrace everything to love a book or show--we should treat our media like we treat people (only we have more power of selection with media). When we really like someone, we acknowledge their faults and forgive them. Some people are good to be around because they inspire us to grow and learn and love. Some people we shouldn't hang around because they're a bad influence. It's a tricky business. So filter everything you take in. Think about it, compare it with other things--Bible stories, other books, movies, historical events, whatever, talk about it, discuss it.

 Only after I have things sorted out in my brain do I switch on the emotions and allow myself to fangirl. But when that happens, you had better look out.

 It's like checking your sleeping bag for scorpions before climbing in.

 In addition, you'll be able to explain yourself to others a lot more easily. Often I feel like I can't tell people I like certain things without them being shocked and horrified.

I can just hear "Oh, you're one of those..." running through their heads.
So, keep a disclaimer on hand.
Imaginary person 1: "Yes, I love Doctor Who."
Imaginary person 2:*awkward misjudgey silence* oh my gosh she's one of those brainless fans who slurp up all that evolutionary agenda without a moment's thought.
Imaginary person 1: "...I love how they explore sacrifice and love, and the historical episodes are really interesting. There are a few bits I don't agree with, but overall I think it's a great show. Have you ever seen any?"
Imaginary person 2: Hmm. This person has some good points. Maybe the show isn't as bad as I thought. "No, which doctor should I start with?"

Not that actual conversations work like that, unfortunately, but it's still a good idea to have some idea in case anyone has questions, no?

Problems with Escapism
Ah, the biggie. It took me months, but I finally (thanks mostly to Omnibus) understood why the idea of belonging to my fantasy worlds appealed to me so much. It's linked to this idea:

~~When you find yourself wishing to be part of an epic, remember that you are. I'm not going to delve too deeply into this, but the Bible is seriously the most exciting fantasy story ever written, with the best Hero and the best minor characters. Only it's not fantasy; it's real. All the others, at some level, are just imitating. It's the only book whose 'fandom,' if you will, actually gets to live in its world and participate in the adventure. I personally find that a bit mind-blowing.

If you've made it this far, congratulations!

Do any of you have any tips for thriving in the clutches of fandom?





 *yes, this is a word. I made it up. You have my permission to use it as much as you like.

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31...er, 30...er, 30ish Day Challenge?

 http://whatcatiedid.blogspot.com/2014/10/31er-30er-30ish-day-challenge.html

How's that for an exciting start? Since I believe, apparently, in arriving fashionably late to events, I found no reason to make an exception for the 31 Days challenge.
Apprehension and uncertainty had nothing to do with it, I assure you.

So, without further fuss,

Welcome to...

30ish Days of Fandom Randomness! 

(clever title, no? I came up with it myself)

...in which I shall attempt to post something every day for the rest of the month. The topic is my 'fandoms' which is short for 'fanatic domain,' (thank you Pinterest) or a domain of fans.

People who inhabit fandoms are generally called fans; if one wishes to be gender-specific, fanboys or fangirls. The latter are most common and most prominent.  I thought we might start with a few definitions to smooth the way for those of who who may be unfamiliar with the topic.

fangirl--noun, 1. a female fan 2. one who fangirls
fangirl--verb, 1. to feel excitement concerning a fandom 2. see 'whale noises' or 'pterodactyl screaming'  3. a seizure--symptoms: impossibly high-pitched whining noises and temporary paralysis of the upper body (with the exception of the hands, which often flap about wildly), combined with difficulty breathing.
Example: "I am fangirling so hard about the Dauphin rescue scene."
or 
"SQUUUEEEEEE PERCY!"

past tense: fangirled-- 1.to have been fangirling under the circumstances described above 2. a feeling of exhaustion caused by fangirling
Example: "I am all fangirled out after that Tinkerbell movie. OH HIDDLES!" 

To fanboy is also generally accepted as a verb but is less commonly used, due to the scarcity of the species.

Feels: noun, emotions, usually overpowering. Always used in plural form.
"Oooooh the FEELS!"

Ship, shipping: verb, to desire two characters to become romantically attached to each other.
Example:  (in reference to a conversation between two characters that implies possible attraction) "I ship it!" 
"I am shipping Sherlolly so hard right now." 

Ship: noun, a (real or imagined) couple. Often associated with nautical terminology. 
Example: "My ship has sunk. Curse you, Moffat!" 
"MY SHIP SAILED! SQUEEE!" 
OTP: a shipping acronym for "One true pairing," meaning the shipper's ideal or favorite couple. The 'one' can be misleading, as most fans have several OTPs 
Shipping names: one of the most confusing habits of the fandoms is the tendency to type seemingly unintelligible gibberish. "Knighthouse? What's that about?" 
This is an example of a shipping name, which is developed by smashing together the names of the two parties of a ship for quicker reference. Simple, no?
Canon: in accordance with the original inspiration or material. 
"I really like the Canon references in "A Study in Pink."  
Squee: exclamation. Short for "I am squealing loudly like a stuck pig at the moment because I am excited." 
There are many more terms, of course, but that should prove sufficient for now.
Over the next few weeks we will explore several different aspects of being in a fandom, a few of my fandoms, and fandom-produced stuff. Some possible topics:
Obscure Fandom Day, Old Fandom Day, Random Fandom Day, The Starving Fandom, Frightening Fangirls, How to keep Your Conscience Safe while Fangirling, Fanfiction: Yes or No? Liking with a Disclaimer, Can INTJs fangirl? When is it okay to Fangirl? Is there Life after Fangirling? (no),  and that tricky game, Faking Fandoms

I hope you'll come along for the adventure as we delve deep into this fascinating world.
"Do you wanna come with me? 'cause if you do, you're going to see all sorts of things. And it won't be quiet, it won't be safe, and it won't be calm. But I tell you what it will be. The trip of a lifetime."


Leave a comment and tell me what you want me to write first (bonus points to you if you guess the quote. Not that points are worth anything)!

Disclaimer: I do not own any photos that I did not take. If it looks like I didn't take them, then they're not mine.

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Frozen, part 2

A LERT

CONCERNING CERTAIN SPOILERS

WHICH MAY OR MAY NOT BE AHeAD

AND WHICh MAY THREATEN THE NAIVETE 

OF THOSE WHO HAVE NOT SEEN THE FILM

WHICH IS THE SUBJECT OF THIS LERT

I'm growing rather fond of my little spoiler alert. Thanks, N.D. Wilson.

All right! Now I've dealt with the conspiracy, it's time for my thoughts on the film itself. Because you're all dying to know, right? WHAT DOES CATIE SAY? AM I GOING TO BE JUSTIFIED IN MY OPINION OF THIS FILM UNTIL CATIE GIVES HERS? (I always wonder why we bloggers think our opinions matter so much. anyway) AHEM.

Be warned. Philosophical nonsense ahead. Slippery ground, folks (You're not laughing. Get it? slippery? ice? eh).

I love the characters. I like the music. The animation is lovely. However, what impressed me most was the plot. It's not epic*, and it's not too sweet. I prefer my tea without sugar, thank you. 

I was concerned for the message of the movie when said dear friend performed 'Let It Go" during a nightlong sing/talk/giggle party. She did an excellent job, by the way.Whether or not I threatened to drop an Omnibus textbook on her toe during the chorus will remain unsaid. It was exam week, for goodness's sake!**  The song seemed to express a rather modern notion of retreating into oneself to find peace, happiness, whatever, and 'letting go' of societal (and often moral) restraints. "No right, no wrong, no rules for me. I'm free!"
 If that was all the movie had to say, it was worth an eye-roll, and that was it. 

BUT IT WASN'T. I was shocked. Flabbergasted. And rather pleased. 
In my Omnibus class, we have been discussing (actually it consists mostly of the illustrious Mr. Sumpter lecturing while I yawn and burn my tongue while guzzling Earl Grey--7 that's a.m. for ya) the concept of the 'true self' and the 'false self.'  The false self is our twisted nature, and our self-image--what we want others to see. In a word, hypocrisy. 
I have heard multiple thoughts on hypocrisy, from multiple sources. Pascal is my favorite.  Most people agree that hypocrisy is not recommendable, but often the only solution offered is 'to just be yourself.'
Hold on a minute. Not only did you just split an infinitive, but what if I don't like myself? What if my self is messed up? In this post  the author made a rather uncomfortable point--we're twisted. 
Thus, 'the real me' isn't likely to be someone very nice.
Frozen illustrated this wonderfully. Elsa tries to conceal her power her whole life, trying to be a 'good girl' all by herself. She shuts everyone out, because, as C.S. Lewis so eloquently said, 

“To love at all is to be vulnerable. Love anything and your heart will be wrung and possibly broken. If you want to make sure of keeping it intact you must give it to no one, not even an animal. Wrap it carefully round with hobbies and little luxuries; avoid all entanglements. Lock it up safe in the casket or coffin of your selfishness. But in that casket, safe, dark, motionless, airless, it will change. It will not be broken; it will become unbreakable, impenetrable, irredeemable. To love is to be vulnerable.” 

I immediately thought of this quote when I saw Elsa's frozen room in "Do You Wanna Build a Snowman?"

 She trying to keep her family, and herself, safe by keeping away from everyone. "Conceal; don't feel. Put on a show." Until Coronation Day finds her minus one glove. oops. Or perhaps, might we say, minus one cup of coffee, or night of sleep, or ____ (insert anything used to make one sociable). 

A nod to the similarity between Frozen and S& S

In "Let It Go," Elsa is rejecting her false self, her avatar.

"The wind is howling like this swirling storm inside

couldn't keep it in; Heaven knows I've tried....

I don't care what they're going to say!

Let the storm rage on; the cold never bothered me, anyway."

There is triumph in finally letting go of one's image, and it's a valuable experience...

"It's funny how some distance makes everything seem small

and the fears that once controlled me can't get to me at all!"

In class, Mr. Sumpter presented to us the 3 Ps of Power, Possessions, and Prestige. People are slaves to them to preserve their self-image--Mr. Merdle in Little Dorrit, for example. Or Gollum. Or Fanny Dashwood. Or any politician you can think of. Unfortunately, rejecting one's facade isn't enough. 

"No right, no wrong, no rules for me--I'm free!"

is not a valid conclusion. Most movies, however, would have stopped there, frozen in an individualistic ice castle of independence.
Frozen didn't. "Let It Go" is only one stage of Elsa's progression. But before I spend too much time on stage 3, let's go to everyone's favourite royal redhead...

 ...because, in her own way, Anna is doing exactly what Elsa did. Because her sister won't love her, she seeks companionship in other places. Elsa retreats further into herself, and Anna looks further and further away for satisfaction--first to her dolls, no doubt, the the pictures on the walls (la! another rhyme!), and finally, Mr. Willoughby. I mean Hans. It's the difference between the introvert and the extrovert--they have opposite reactions to the same problem. 

"For the first time in forever I won't be alone. I can't wait to meet everyone!" 

  ...needless to say, Anna's method didn't work out either. 
Back to Elsa. She isolates (get it? Ice-o-lates? I think the song made that one already) herself in her castle, thinking she's 'alone and free.' She seeks freedom within herself. In Omni we've been discussing the difference between Christian, Trinitarian freedom and unitarian, 'loner god' freedom. In the latter case the freedom is individualistic--I'm free to do what I want. I am independent. Liberty, equality, fraternity. Long live the rights of man (and woman).

In Trinitarian freedom, I'm free to serve others; I'm free because I'm dependent. I'm a slave to love. The Christian God, in three Persons, is able to love Himself selflessly. I know. My brain just exploded, too. Mop it up and let's continue. But first I need some carrots (behind you there). They're good for my brain--what's left of it, anyway. Good for noses as well.

What amazed me so much in Frozen was, they seemed to get it. 

"I'm such a fool! I can't be free

no escape from the storm inside of me!

I can't control the curse!"  

Elsa finds her true self after she abandons her scheme of independence. Turns out that her selfish letting go was not any more real than her good girl facade.  Elsa learns to love, and then she's able to conquer 'the storm,' and use her power for good. 

"'I don't even know what true love is.'

'I do. That's when you put someone else's needs before your own.'" 

Anna learns that true love isn't necessarily romantic--it's a decision, and she finally stops fantasising about Prince Charming. The sisters learn to love each other, and Elsa is finally free, but in a completely different way. 

Being so similar in personality to a character as I am to Elsa is more uncomfortable than anything else I can think of, apart from theater seats. It's been embarrassing to me to see how often I behave just like her without even realising it. What if, say, Elsa had the power of writing, or rhetoric, or ___(insert talent), instead of ice? Words can hurt worse than any old icicle, and they can create personal flurries for people as well. 

Me: (while reading a criticism of my work) "Oh look! I've been impaled." 

Power is dangerous. Repressed power is dangerous and highly explosive. Self-centered power is even more dangerous. Power, used for true love*, is glorious.

That's what I saw in Frozen. Perhaps I'm being philosophically nonsensical, as usual, but I enjoy being that way. And I daresay it's better than frowning at everything, or just giggling at everything. Don't you think?     

*Odyssey-epic here
**and don't you think a Martin Luther version of that song should be composed? "Here I stand" and all that
* agape, unconditional love--found perfectly only in God

This is Where You Yell in French, or, "Storybook"

Warning: the following post contains a serious amount of what I call philosophical silliness, which is trying to discern too much meaning from something the culture produces. I do this a lot--kind of like those medieval theologians who go crazy with analogies, only I'm not as smart. Also, the original context for this song is not nice (nice: refined, lovely). If you're fine with PotO, you're probably okay with this (okay as in your filter levels are adequate to handle this). If not, ask your parents. :D How's that for a disclaimer?    All right. Onward, ho!

Like "Vivez!" when I first heard this song, I liked it very much. I recall a dear friend, upon listening for the first time, sighing, "I know exactly how she feels!"  She was joking, of course, but perhaps with a grain of truth.  Those of us who read too many novels (especially about dashing Englishmen who are alter-ego heroes), tend to find ourselves "Flying, sighing, 'where, where, where is my storybook ending?'"  (C'mon, you know you like that line, even if you hate the rest of the song). In other words, we sometimes find ourselves falling prey to escapism, that is, desperately wishing we lived in another time, another world, or just another place. This is hardly healthy--and I think that this is what this song is about. 

Unfortunately, my initial positive impression of this song was marred when I read the plot of the musical--in this scene, Marguerite has tossed aside her trust in the Scarlet Pimpernel (this seems to run in the family!) and gone to Paris to try to save Armand. She sings this song in a not-so-nice venue, dressed as a not-so-nice 'lady' (thinking Les Mis song title kind of 'lady,' here), trying to get information from a bunch of soldiers about her brother.

I know, I know. Ridiculous. This scene renders Marguerite as unlikeable as Armand-from-the-movie. 

Once I realised this, I started subconsciously redefining 'love' as it would be taken under the context (hardly Platonic, shall we say), and that kind of ruined the song.  I tell you, English needs about ten more words than it has for 'love.' And French is even worse!

However, I recently discovered that in the new versions of the show, this is one of the first numbers--Marguerite St. Just is singing it onstage in her play. Now, I'm not saying that all plays are lovely--see the scene above--but somehow the oh-so-elegant white poofy gowns (they must be white and poofy!) and the pretty set--the completely different context--seem to imply a different meaning to the word love.

of course, I imagined something a bit more like this...

than that ^

 Of course, this might apply: 

     “It is wonderful how Virtue turns from dirty stockings; and how Vice, married to ribbons and a little gay attire, changes her name, as wedded ladies do, and becomes Romance." ---From Charles Dickens' Preface to Oliver Twist, printed in 1841

...but I don't think it does, here. Context is important. 

Thus, if the singer is acting inappropriately, the song is interpreted differently. On the other hand, if the singer is just (just, St. Just, get it? ouch) trying to bring herself back into the real world, then I think it's fine. Some of the lines are still a bit uncomfortable, though.

On the fourth hand (I'm starting to look like some Asian 'deity' with all these arms), I showed these lyrics to my mother and asked her what she thought they meant. Her answer was a grimace and, "Nothing. They're just nonsense. But I bet  it has a pretty tune, and that's why it's in there." 

She's right--the tune is very pretty, indeed. I like the music on the earlier version best, but the new one with the harp is pretty, if it's not too slow.   

Listen to me, I have beautiful dreams I can spin you,
Dreams to linger within you
Close your eyes and we'll ride my carousel

(I love how she introduces it--makes it almost like a frame narrative)
I'll sing you stories of lovers whose love used to fill me
(or, she's going to tell us about her favorite literary couples)

For the lovers who will be

For, you see, love is one thing I do well

(I don't know what exactly this is supposed to mean, so I usually change it to 'one thing I know well," which reminds me of Don Quixote reading all those romances and then going crazy)Come, let's believe love can be just as sweet as it seems
Let's live on dreams!

In my dreams, such beautiful lovers have found me
Storybook lovers surround me
Nothing is real, but I'm flying, sighing
Where, where, where is my storybook ending?
Why does my golden pretending
Leave me with nothing to hold but my dreams? 

(this is probably my favourite verse--sort of a, "You mean Mr. Darcy isn't real?! What?!" moment--only it's not fair because she's married to Sir Percy...)

Oh, is it only in dreams that we find our ideal love?
Are there lovers with real love?
If you know how to feel love, show me how
Ah, but my prince, if you can't be as sweet as you seem
I'd rather dream
(this last line is, I think, the funniest)
Come and wake me!
Come be the love I can hold now
Storybook love leaves me cold now
Show me the way to stop dreaming
There is only one perfect storybook ending
That is the end of pretending
That is the moment I say, love me now! 

(this verse shows her wanting to escape her escapism, which is admirable. I just wish it were a bit more general than just romantic love)

And this is where you yell in French...

Et sur mon manege, l'amour toujours est chantant
De mes reves, c'est le commencement
Et j'espere une fin heureuse
Mais la fin de l'histoire ne vient pas tres doucement
Pour l'histoire, il faut faire semblant
Certes je n'embrasse que mes reves
Seuls mes reves!

(If you, like me, can't pronounce the words, just think of all the French words you do know, and arrange them to fit the meter. Then, yell them loudly with a French accent. An attempt might look something like this:

Bonjour, um, la chat, um, une deux trois...

Les poissons, au revoir la la la

um, les miserables, Enjolras, Gavroche...

um, Thenadier sounds French, um, une deux trois again, 

Chauvelin is...evil..umm...

les poissons...les poissons...

...you get the idea)

Overall, I can't help liking this song. Unfortunately, it is yet another thing that I have to like with a disclaimer (I have a very extensive list of those). I don't think it's worse than "Music of the Night," when interpreted at its worst, and it's probably better philosophically than "Vivez!" 

Plus, it's fun to yell in French.  

The Scarlet Pimpernel: The Story & the Songs, or the Really Really Long Post

~DISCLAIMER: until about a year ago I was under the delusion that all musicals were lovely, innocent, lighthearted, and generally child-friendly. Then I met Les Mis.If you have been in this happy, blissful state, I hate to break it to you, but most musicals are just like movies--some are happy, lovely stories, and others are dark, creepy, violent, or just inappropriate.

and Eponine adds, "You got that right."

Most fall somewhere in the middle, and TSP is one of these. I have never seen the entire musical, but I understand that there might be one or two scenes that are not Mary Poppinsish, that is to say, nice, in addition to a few words here and there that would have earned Bert a smack from the practically perfect nanny's umbrella. END OF DISCLAIMER~


All right. Now that the warnings are over, I think a brief plot summary is in order (based on the songs, on which my personal opinions will be following). I will mostly be working from the OBC album, with occasional references to the later versions. Here is someone else's much better synopsis that I am using because I am lazy.

Act I:
Overture: Time for everyone to sit down and get excited. Luckily, rather short and epic*.

Madame Guillotine: The (French) people are singing the song of angry men while they cut off aristos' heads. The Marquis de St. Cyr is not thrilled about this.**This number is very..effective. For some reason, everyone loves it--including myself--even though it's about, um, decapitation. As I said, it gets the point across.

DA...da da da da da...He's there, the phantom of the...guillotine...Wait, wrong musical.

Believe: Not the dumbest song on earth. It's so beautiful to listen to. I think I would like it better if it were in another language, so I wouldn't understand the (rather ridiculous) words. I mean, seriously, As waves lean on the sea/ My love, come lean on me?? I went to the beach last week and didn't see any waves leaning on the sea--and I looked very carefully. Crashing, yes, leaning, no. Well, the music's pretty!

Vivez!: I love the tune of this song. The words are very...ah, Romantic and French. Not happy-starry-eyed-sigh romantic, but like, well, the Romantics.

Prayer: It took me forever to listen to this song. It's hardly fast-paced. I think it works well in the setting, but *ahem* there's that little issue with the plot.

Into the Fire: Also know as The Percy Awesomeness Song. The best of the bunch.

Falcon in the Dive: this is my favourite of Chauvelin's (two)songs--except for That Word. I wouldn't put it past him, but was that really necessary? This song makes Chauvelin seem like Javert, only meaner. Apart from the fact that the whole falcon simile is cool, I like the tongue-twisters in the beginning and in the last verse...

When I Look at You: All right. I know it's sappy, but I love this song (apart from the warbling). It has pretty words, and expresses Marguerite's position pretty well.

The Scarlet Pimpernel: Oh dear. When I first heard this song, I couldn't make out half the lyrics, and thought it sounded funny. I made the mistake of listening too closely. Four letters--D-U-M-B.

Where's the Girl?: I call it the "Music of the Night Wannabe." 'Nuf said. Fun fact: the beginning of the line and I know she remembers how fearless she feels... sounds just like  and I know if I'll only be true to this glorious quest... from "The Impossible Dream." Have fun throwing M. Chambertin's romantic attempt awry by loudly changing songs at this point.

When I Look at You (Reprise): This song is titled "The Saddest Song Ever." I enjoyed letting forth pathetic-sounding romantic sobs during this song, until I discovered that if one stretches the old vocal cords one can sing along an octave higher, making it a duet!

The Creation of Man: This song is hilarious. If you're out to make a splash, cheri, do know your haberdashery! Brilliant! The words are ridiculous, but they're supposed to be. I call it "The Dandy Song"  Although later versions have That Coat in them...but we don't talk about those.

The Riddle: Reminiscent of "The Waltz of Treachery." Like Madame Guillotine, very effective. Am I the only one who thinks of Christine Daae on feel the terror draw ever nearer/the more you stare in the mirror ?

Act II

They Seek Him Here: I'm glad to have a tune for The Poem. The other verses, I could do without (and is it just me or is future George IV too intelligent in the musical, making up all those rhymes? whatever happened to, "as it were crystal clear...my dear"?).

Only Love: I hate to say it, but I very firmly feel this song is not an asset to the musical.  But I'd like to say a word on its behalf--"Only Love" makes me laugh. Not really. But between the weird melody and the, um, lyrics, I was glad to hear that this song was cut from the show. Sorry, Lainey. That doesn't keep me from warbling it in the shower, though.

She Was There: This is another song that took me a while to listen to all the way through. I'm glad I did, though, because it's really sweet.

Storybook: I have mixed feelings about this song. I'll probably do a post on it later this week.

Where's the Girl Reprise: Aka, "I See your True Colors Shining Through/and That's Why I Hate You so Now I'm Gonna Get You Executed...and Your Little Brother, Too." I believe that title may be longer than the actual song...

Lullabye: short, sad and sweet.

You Are My Home: Oh boy. First off, I can't stand Armand, so having him played by whoever that nasally guy was did not help. Second, there is no scene with Margot and Armand in prison inside that little paper thing over there that they call the book. The lyrics are not the most profound in the world. I do like, I will not walk away from you/I will not let you go... because I always yell to the singer (most often Lainey), "Sing like an ANGRY Frenchwoman!" I'm very easily amused.

Believe Reprise: Cute. More leaning waves. I imagine Percy and Margot passed out after holding that ridiculously long note. I doooooooooooo beliiiiiiiiiiiiiiieeeeeeeve iiiiiinnnn yooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooouuuuu.... you get the point.

Into the Fire Reprise: Since the lead couple has passed out, the League and the Leaguettes lead us in a lovely reprise of the Percy Awesomeness Song. Percy recovers enough breath at the last second to sing:
Into Fiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiirrrrrrrrrrrrrrrreeee...

...and all the Leaguettes smile and sing Onward, ho! before sighing happily and trying to revive poor Douglas Sills, who has fainted again. "What did 'e die of? Shortage o' bref?"

Overall a lovely listening experience.
 And, by the way, which do you think is the better Percy?
This...

or this...

Calm down, calm down. I'm just joking.

 *see my earlier definition of this word. This week I shall use this word quite a bit, to mean rousing, exciting, or even just loud. Odysseus-like, not so much.
**I will also use quite a bit of litote and understatement this week. You have been warned.

Celebrate Musicals Week: Tag

I'm not sure how well I'll do on posting, as I'm pretty busy, but here goes nothin'.

Yet Another Period Drama Blog

1.  What musical did you pick to "spotlight" this week and why?
I finally, after running through the numerous (5) musicals that I am well acquainted with, I decided...that is, I have almost made up my mind...to do 
The Scarlet Pimpernel
...mainly because Jess already took Oliver! and everyone is doing Les Mis. And I hardly know anything about Mary Poppins (as far as the play/songs/other casts go--on the movie I am quite the established authority). I just recently discovered this musical, and am quite ready to dissect it--and here was a chance to do so where others might get something out of it (?). 

2.  How did you discover the musical you picked (hereinafter referred to as "your musical")?
I read the book. And watched the one and only TSP '82.

And saw there was a musical. Keeping in mind that Mom can't stand Phantom and was tired of Les Mis, I thought it was time for some variety. Actually, I think it was the Song of Percy's Awesomeness that did it.

3.  If you had to pick three favorite songs from your musical, which ones would they be?
oooh, the hard one.
 "Into the Fire" is certainly my favourite (nice British u there) .
  "When I Look at You" ties with "The Riddle" for second place, and
"She Was There," and "Storybook" compete for third. 
"Madame Guillotine" is, shall we say, effective.
4.  What's your least favorite song from your musical?
Probably, oddly enough, "The Scarlet Pimpernel" for its general stupidity, but "Where's the Girl?" isn't lovely, either. I hate the portrayal of vice as being attractive and 'wordly,' but more on that later. Probably quite a bit more on that. "You are My Home," isn't the most intellectual song out there, either. 
5.  Who are your favorite characters (choose up to three)?
Well, Percy, Percy, and Percy, right? 
Oh. three different characters. Percy, Marguerite, and, um, not Chauvelin. 
Third try: Percy, Marguerite, and the Scarlet Pimpernel. There we go.
6.  Which versions of your musical have you seen/listened to, and which is your favorite?
I have never seen the entire musical, any version. I own the original Broadway cast recording; this is what I listen to. I've heard Rachel York's "Storybook" and the 'other Chauvelin's' "Falcon in the Dive." Of all the professional recordings I think the original Broadway cast's is my favourite; the VHS performance, or the snippets on Youtube, anyway, look great. Chauvelin is AMAZING.  This performance looks great (especially Marguerite) but I can't take the bad audio for more than a few minutes at a time. 
7.   Is this your favorite musical of all time?  If not, what is?
No--I love Les Mis. And Bach's St. Matthew Passion is kind of like a musical, isn't it?
8.   Which cast album/musical soundtrack in your collection do you listen to the most?
I listen to my siblings and friends hum it--our own special edition. Apart from that, the Original Broadway cast recording. 
9.   What is your favorite costume from your musical?
Oh, the costumes. I haven't seen many costumes from the musical itself, but I love, love, love Georgian costumes--even though, technically they should be early Regency costumes. And I hate, hate, hate Percy's Tiger-stripe tailcoat. The end.

I hate this coat.

Ugh. there's That Coat again.

10.  If you could change anything about your musical, what would you change?
(I am speaking of the storyline described in the album I own, not the newer version of the show)
That ridiculous Coat from "the Creation of Man." Come to think of it, I would cut/rearrange several songs, change the plot to be more like the book, and rewrite the entire script. Oh wait. I did (more on that later). 
11.  Which role(s) would you most like to play in any musical, if you had the opportunity to do so on stage?
oh boy. Eponine, obviously. I like what Miss Dashwood says, "Her songs are all within a comfortable mezzo range (no struggling with super-high notes),  she has one of the best solos in the history of theatre...she gets to die onstage and sing a heartbreaking duet while doing so, and she doesn't have to kiss anybody.  Wins all around."
Marguerite would be fun (obviously), depending on the version of the play (again, no super-high notes, if "Only Love" were cut(yes, Jessie, that does count as a high note). 
Unfortunately, in our impromptu plays I always wind up playing Sir Percy. And Jean Valjean. Oh well.

Me starring as Jean Valjean in a stirring rendition of "One Day More," although now it looks more like "Masquerade"

12.  If you could choose one performer to play any part in your musical, who would you choose and which part would you have him/her play? hmm. I love Marguerite from the Album I Own, but she's kind of warbley. I'm trying to think of someone who would be a great Marguerite but can't think of anyone professional. 

Best friends don't count, even if they are making lovely faces.

13.  Do you consider yourself a musical theatre fan in general or do you just like a few musicals?
Theatre is an art form, like any other, only more epic*.  It's dangerous/effective because it allows so much portrayal of emotion through randomly bursting into song (which is what makes it epic). Any further and we'll run into a Deep Thoughts post, which I don't have time for. I love the art form, and I love a few musicals. I just don't like musicals in general (if that makes any sense). I don't dislike musicals in general, though. :)
14.  Are you tired of the word "musical" yet?
um, to tell the sheepish truth, almost.
15.  Turn your music playing device on shuffle (or utilize Pandora if you don't have one) and tell us the names of the first three show tunes that come up-- no cheating!  How do these rank on your favorites/most-listened-to list?
"The Scarlet Pimpernel," Ironically enough. 
"I See the Light," which I'm not sure counts, but Jackie Evancho's rendition is sweet,
"Believe" which does not have the dumbest lyrics in the world (I keep telling myself this), from TSP, not The Polar Express.
The first song from the American Girl Revue also came on, but... 

*epic in the popular, almost meaningless sense of the word. Virgil, Dante, and Milton are really epic. Now, a musical of The Odyssey would be an epic epic.