One of the first famous Musicals, “The Black Crook,” was performed on Broadway in 1866 and is considered one of the earliest successful examples of this genre. “The Black Crook” was a combination of dance, song, special effects, and drama that were used to tell a story. This format became the foundation for future Musicals.

The Musical genre has been developing and changing over time, adapting to changes in society and culture. It continues to develop nowadays, incorporating elements from various musical styles and utilizing new technologies to create performances that are more intense and engaging.

The history of the musical’s development since the 1970s is presented below.

1. Modern Musicals (1970s to present): Modern Musicals have become more experimental in their forms and themes, including rock musicals like “Jesus Christ Superstar” (1971) and “Rent” (1996), as well as influential shows such as “The Phantom of the Opera” (1986) and “Les Misérables” (1985). Contemporary Musicals also focus on historical events or biographies, as seen in “Hamilton” (2015).

2. Disney Musicals (1990s to present): Disney has made a significant contribution to the musical genre by adapting popular animated films like “The Lion King” (1997), “Beauty and the Beast” (1994), and “Aladdin” (2014) into Broadway shows.

3. The Film Musical (1930s to present): Musicals have also gained popularity in cinema, from classic Hollywood musicals like “Singin” in the Rain” (1952) to contemporary films like “La La Land” (2016).

4. Musicals based on pop music (2000s to present): Musicals based on popular music by famous artists or bands have emerged in theaters in recent years, such as “Mamma Mia!” (2001), based on the music of ABBA, or “We Will Rock You” (2002), based on songs by Queen.

5. Digital era (2020s to present): With the development of technology, Musicals have embraced online platforms for streaming their shows, expanding their reach to wider audiences. Platforms like Netflix, Amazon Prime, and Disney+ now offer the opportunity to enjoy Musicals from the comfort of home.

Translation agencies play an important role in a growing globalised world as communication between different cultures and languages is becoming increasingly important. In the context of Musicals, this is especially crucial in the context of musicals, where language serves as the primary medium for expressing plot, characters, and emotions.

Translation agencies https://translation.center/de-uebersetzungsbuero-hamburg can influence musicals in several ways:
Translation of scripts and songs: To enable musicals to reach a wide international audience, translation agencies translate the scripts and songs into different languages, allowing people who do not understand the original language to enjoy the performance.
Localization: In addition to translation of the content, translation agencies can also localize it, adapting it to the cultural and social characteristics of the target country. This includes choosing appropriate slang, adapting humor, and ensuring cultural relevance.
Subtitling and dubbing: For stage productions of musicals, translation agencies https://translation.center often create subtitles or provide dubbing services. Subtitles allow non-native speakers to follow the story, while dubbing provides a complete audiovisual experience by translating the dialogue and songs into the audience’s native language

Digital technologies have also revolutionized the process of creating musicals. They allow for more efficient use of special effects, sound, and lighting, resulting in increasingly expressive and immersive performances. Furthermore, digital platforms facilitate the dissemination of music and other musical materials, contributing to the popularity and accessibility of musicals.

The European musical comes from operetta, according to the light opera, which emerged in the mid-19th century, especially in Austria and France. Over time, this genre expanded and gained popularity in Great Britain and other European countries.
Operetta has emerged in the mid-19th century. The most famous composers of this genre were Jacques Offenbach in France and Johann Strauss (Junior) in Austria. These lively and often satirical performances incorporated songs and dances.
As of today, musicals maintain their popularity in European theaters. This genre constantly evolves, adapting to societal and cultural transformations, and presenting a diverse range of styles and themes.

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“Chicago” first opened on Broadway in 1975, with music by John Kander, lyrics by Fred Ebb, and a book by Ebb and Fosse. Despite its initial success, the original production closed in 1977. However, in 1996, a revival took Broadway by storm, garnering rave reviews and eventually becoming the longest-running American musical in Broadway history.

One of the key elements of “Chicago” is its unique musical style. The Kander and Ebb score perfectly captures the spirit of the Jazz Age, with songs like “All That Jazz,” “Cell Block Tango,” and “Mister Cellophane” showcasing the era’s energy and rhythm. The show’s minimalist set design and striking black-and-white costumes allow the audience to focus on the brilliant performances, sharp wit, and dazzling dance numbers that have made “Chicago” a Broadway classic.

In addition to its theatrical success, “Chicago” was adapted into an Academy Award-winning film in 2002, starring Catherine Zeta-Jones, Renée Zellweger, and Richard Gere. The film further solidified the musical’s place in popular culture, introducing it to a new generation of fans.

In summary, “Chicago” is a timeless Broadway musical that expertly weaves together a gripping story, unforgettable music, and sensational choreography. It is a must-see for any theater lover and a true testament to the enduring power of live performance.

All That Jazz: The Enduring Appeal of Broadway’s ‘Chicago

Since its debut in 1975, the Broadway musical “Chicago” has continued to captivate audiences with its sensational story, unforgettable music, and iconic choreography. Set in the roaring twenties, the show’s exploration of crime, passion, and media manipulation remains as relevant today as it was during its inception. The production’s ability to adapt and evolve over the years has ensured its enduring appeal to theatergoers of all generations.

The powerful combination of John Kander’s music, Fred Ebb’s lyrics, and Bob Fosse’s choreography has made “Chicago” a show unlike any other. The vaudeville-inspired tunes, including hits like “All That Jazz,” “Cell Block Tango,” and “Razzle Dazzle,” evoke the Jazz Age’s wild energy and decadence. Fosse’s signature dance moves, characterized by fluid movements and stylized poses, have become synonymous with the show’s identity.

“Chicago” also boasts a unique visual aesthetic, setting it apart from other Broadway productions. The minimalist set design and striking black-and-white costumes focus the audience’s attention on the remarkable performances and razor-sharp wit of the dialogue. This visual approach also reinforces the themes of moral ambiguity and societal corruption at the heart of the story.

The 1996 Broadway revival breathed new life into “Chicago,” exposing it to a whole new generation of theater lovers. The subsequent 2002 film adaptation further solidified its cultural significance, earning six Academy Awards, including Best Picture. These successes have only served to solidify the musical’s reputation as a timeless Broadway classic.

In conclusion, “Chicago” remains an essential Broadway experience, thanks to its intoxicating blend of music, dance, and storytelling. As the longest-running American musical in Broadway history, it serves as a testament to the power of live theater and the enduring appeal of “All That Jazz.”

Murder, Passion, and Dance: The Unforgettable ‘Chicago’ on Broadway

The Broadway musical “Chicago” has captivated audiences for decades with its tantalizing tale of murder, passion, and dance. Set in the Prohibition-era Windy City, the story delves into the lives of two murderesses, Roxie Hart and Velma Kelly, as they navigate the treacherous world of fame, fortune, and the media spotlight. The combination of a gripping narrative, memorable music, and unforgettable choreography has cemented “Chicago” as an enduring classic in the world of theater.

One of the defining elements of “Chicago” is its unique blend of storytelling and performance. The show masterfully weaves together a narrative that explores themes of crime, betrayal, and the seductive allure of fame. With its vaudeville-inspired style, the musical presents a series of vignettes that showcase the talents of its performers while advancing the plot.

The music by John Kander and lyrics by Fred Ebb perfectly capture the essence of the Jazz Age, infusing the show with a sense of danger and excitement. Songs like “All That Jazz,” “Cell Block Tango,” and “Mister Cellophane” have become iconic in their own right, embodying the spirit of the era and serving as the backbone of the production.

Bob Fosse’s distinct choreography adds another layer of brilliance to “Chicago.” His trademark style, marked by fluid movements, stylized poses, and a sense of raw sensuality, has become synonymous with the show. Fosse’s choreography elevates the storytelling and adds an undeniable visual flair that continues to captivate audiences.

“Chicago” has also enjoyed success beyond the stage, with the 2002 film adaptation earning critical acclaim and introducing the story to a new generation of fans. The movie’s six Academy Awards, including Best Picture, attest to the enduring appeal of this Broadway masterpiece.

In summary, “Chicago” has solidified its place as an unforgettable Broadway experience through its exploration of murder, passion, and dance. As the longest-running American musical in Broadway history, it remains a testament to the power of live theater and the ability of a compelling story to captivate audiences for generations.

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The film was shot in 2019, but because of the coronavirus epidemic, the premiere was postponed until as early as 2021. I was skeptical at first: the 1961 film is beautiful, what can I add to it? It won 11 Oscars, while the 2021 film had only one (for Best Supporting Actress). Finally, the new film, with a $100 million budget, grossed only $74.5 million at the box office…

But I was wrong: the film is certainly worth watching. First of all, it is very bright, the riot of colours at times simply takes your breath away. The dancing is superb and the choreography is great. And I really liked the cast. Maria (Rachel Segler) is so young and touching, she was 18 years old at the time of filming. Tony (Ansel Elgort) is very atypical of ‘Romeo’: he’s very tall and looks like a giant compared to the other characters. But I can’t say that’s a bad thing, just unusual! But the hero – very kind and charming, it is immediately clear why everyone loves him so much. However, my favourite is Mike Feist as Riff, the leader of the Rockettes, who is a bundle of energy! And of course, Ariana Debos as Oscar-winning Anita is insanely good. Interestingly, the film stars Rita Moreno as Valentina, who won an Oscar for the role of Anita in the 1961 film. At the time of filming the actress was 87 (!!) years old, but she does not look her age…

There are, of course, and minuses: some scenes frankly dragged on, some in general could be cut without any damage. According to my observations, this flaw is inherent in Spielberg’s films in general: the director seems so fond of all the footage that he is not willing to sacrifice a single episode. I think that ‘West Side Story’, which lasted 2 hours and 36 minutes, would have made a world of difference if he had cut it down to 2 hours. But the audience who sees the film through to the end will be rewarded: the battle between the Rockets and the Sharks, Anita’s visit to the Rockets, the finale – all these scenes are full of real drama, this is truly high art (my heart even sank!). In my opinion, these scenes are better than in the classic film, they are more vital and less theatrical. And in general, I think that Spielberg’s film is closer to modern viewers than the 1961 adaptation. Which, in general, is not surprising.

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“Hamilton” incorporates the most seemingly incompatible characteristics, which, however, elevated this musical to the skies, making it one of the most famous and box office hits: the combination of historical facts, biography, stunning vocals and lyrics, and most importantly, the use of R’n’B and rap music in all degrees of seriousness, have turned the musical into a completely unique and absolutely innovative work, which has no worthy competitors yet.

Thanks to Disney+, ordinary everyday people (of which I am one) have been given an incredible chance to see “Hamilton” as if they were in a Broadway theater. Such a thing was indeed made real through very lively filming with lots of extra microphones and light sources to make sure the most important details were not missed, creating an incredible effect of presence.

Turning to the dusty pages of United States history, most of us are unlikely to be sufficiently aware of the identity of the person responsible for the celebration, Alexander Hamilton. From what I have seen and somewhat later read, I have taken note that, despite the lack of fervent popularization of this personality in the arts (at least before “Hamilton” appeared), we can conclude that this man actually laid the foundation for the formation of the American nation: he took an active part in the War of Independence, achieved ratification of the Constitution, formed the Federalist Party and became the first Secretary of the United States Treasury. Hamilton was politically active and devoted to writing, and he did so vigorously and enthusiastically. I believe that only Lin-Manuel Miranda was able to play such a bright and extraordinary personality.

Lin-Manuel Miranda has always been distinguished by some absolutely crazy and irrepressible energy, which charges and draws in even through the camera, it is certainly a very charismatic and talented actor, director and producer. Over the long six years of writing the musical, its story has become more and more filled with unique facts, stunning compositions and talented people, making the content even more complete. Lin-Manuel Miranda gave us a new perspective on the founding fathers and made us realize that history can be interesting and fascinating, it all depends on how and in what form the information is presented. Perhaps it is Miranda’s craftsmanship that I can consider to be the most successful aspect of bringing to life the “American dream” that the author undoubtedly calls for. The musical he created has forever changed the nation’s view of people who have made significant contributions to the formation and development of their country. I believe that it was clearly a wise decision to tell the story of Alexander Hamilton’s personality without much embellishment, without trying to whitewash his reputation over time, ridding the story of former intrigue and changing the character of the hero. Hamilton was shown as a willful and self-centered individual who could not be changed or stopped when it came to the goal and the means of achieving it. It is likely that Lin-Manuel Miranda put all the persistence and drive he had to achieve what he wanted and did so in such a way that even Ron Chernow, the author of the biography of Alexander Hamilton, dismissed any skepticism and realized that the work was bound to succeed.

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At the center of this sad story is the young beauty Esmeralda, who was brought up by the gypsy king Klopin, who replaced her father and mother. Their tabor attempts to illegally enter Paris to take refuge in the Cathedral, but the soldiers notice the uninvited guests and immediately chase them away. The handsome Thebes da Chateauper, who is the captain of the royal riflemen, catches the eye of the young Esmeralda. Captivated by her beauty, he completely forgets about his betrothed bride Fleur-de-Lis.

The captain is not the only one who has noticed the young dancer. Quasimodo also has fond feelings for her. He comes on purpose to the jester´s festival to admire his beloved once more. His stepfather and stern master Frollo forbids him even to think of the girl or look at her, and he does so out of sheer jealousy. It turns out that the archdeacon is also in love with Esmeralda, only he has no right to be.

Frolo hatch a cunning plan to kidnap the gypsy and lock her in the tower, and he tries to steal the girl with Quasimodo under cover of night, but Thebes saves the gypsy in time. Seizing the moment, the captain immediately invites the beauty on a date.

An unwilling witness to the kidnapping and the captain’s brave deed is the poet Grengoire, who wants to hang the Gypsy King Cloper for breaking the rules of the tabor, because he has visited the Court of Wonders, and it is strictly forbidden to do so. But Esmeralda saves Grenguard and must now marry him. Except that the gypsy is already in love with another, her saviour, Phebe de Chateaubre.

The archdeacon watches Esmeralda and the captain closely as they set out on their date, and, blinded by jealousy, he pounces on his rival. As a result, Frollo injures Phebe with a knife. Except that Esmeralda has to pay for the crime, for it is Esmeralda who is accused of attempting to kill the captain. At the trial, the gypsy tries to prove her innocence, but Esmeralda is not heard and is sentenced to death.

While the girl is in prison awaiting her sentence, she is visited by Frollo. The archdeacon offers to save the beauty in exchange for her loyalty and love, but she refuses him. On hearing of this, Frollo pounces on Esmeralda, but the girl is saved by the timely arrival of Clopin and Quasimodo. The entire tabor comes to help the captive, and a fight breaks out between the gypsies and the King’s soldiers. As a result of this clash, Clopin is killed and Esmeralda is arrested again, with Frollo himself handing her over to the executioner. In despair he tells Quasimodo and confesses that he did all this because of the young beauty´s refusal. In fury he throws the perfidious Frollo from the tower and he rushes to the place of execution to take Esmeralda, now dead, into his arms for the last time.

“Notre Dame de Paris” is generally considered to be Hugo’s first and most significant work. And his publisher immediately put strict conditions – the manuscript must be finished in exactly four and a half months, and it was conceived in the spirit of Walter Scott. For comparison, over his next work “Les Miserables”, which was written after the first novel, Hugo worked for seventeen years.

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Chocolate, melting in her mouth gorgeous chocolate, is most likely what Miss Doolittle is dreaming of right now, perhaps at times the dreams of chocolate are interrupted by pictures of the beautiful prince and then back to candy, and involuntarily a smile appears on Eliza’s face. Brushing aside such thoughts, which had the audacity to enter her head at all, the girl’s happy face is replaced by a wistful expression. Elisa, a street flower vendor, can’t really imagine how the elite of society live in their chambers, where every high-ranking person has a servant. No, she does not know how the people of high society live, until, because of her long tongue, Professor Higgins – a linguist, and a man with a very emotional temperament, who has a weakness for experimentation, ready for the most dubious bets just to prove his point.

George Ciucor shows his audience exactly what the mass viewer wants to see, for surely most boys will discern Professor Higgins, and girls will compare themselves to Miss Doolittle in some way. Thus, “My Fair Lady” has no gender restrictions and embarrasses neither gender by putting familiar themes into play in the manner of a comedy musical. Speaking of comedy, there is a good chance that over the years some of the jokes will become outdated, no longer relevant. But this does not doom the picture to the fact that it will not keep the mood or will be boring, no, just the witticisms of those times will be a little alien to the modern viewer. Scenes like throwing slippers at the professor or Hugh Ikering nervously walking around the room, coupled with all such episodes, give a good dose of positivity. It is worth mentioning that in spite of the long chronometry not a single element, not a single scene seems superfluous, and all the actors with due professionalism breathed life into their characters, giving them individual characters, yes, even a small, seemingly insignificant episode turns out to be very important, for example, when the phonetics expert bows incongruously, it is nothing, but such little things act on certain points of human perception, for example such a scene presses the “button” of smile and light laughter. There is nothing superfluous in “My Fair Lady”, but still there is one drawback, that in the harsh reality of modern society there is no place for such kind, fairy stories anymore, but who does not like fairy tales, if they are not pointless, beautiful, surprisingly kind and developing imagination, able to touch even the most callous heart.

I, your humble servant, the first time I watched this beautiful musical I even cried, there were tears of happiness, and my friend thought me too emotional, though sometimes he doesn’t mind watching old Indian movies waiting for the predictable but desirable Happy End. But come on, there are more positive emotions from watching a Cukor film, and if the actors bring a tear to your eye, it will be a tear of joy.

Truly, we’re not looking for logic or unpredictable plot twists in “Snow White and the Seven Dwarfs,” as in “My Fair Lady,” here the logic is emotional rather than logical, but that doesn’t spoil the final product’s quality or detract from your curiosity about it.

It is, of course, possible to criticize the brainchild of George Cukor, but taking into account the colossal work of the film crew, the charming acting of Audrey Hepburn and Rex Harrison, Wilfrid Hyde-White, the flavor of their characters, the competent humor and self-irony, it would be better to write a negative review about such a film. To write a negative review of My Fair Lady, you have to have more arguments behind you and be a very picky critic who doesn’t like musical comedy melodramas. To be honest, there are almost no such critics (set up to take it apart by the screws), so if there was a blow from the critical experts, who watch the film a little earlier than the common folk, it was very inconsequential, thereby the people warmly accepted George Cukor’s creation. In addition, it is one of the rare films that does not have a criticism section on Wikipedia, why criticize it when you can praise it, and compositions like “So You Wait Higgins” and others became very close to my heart.

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Barnum’s actual circus lasted until mid-2017 and was closed due to a catastrophic decline in attendance and protests by animal rights activists
It is naive to believe that embellishing real facts or even outright fabrication in films “based on real events” is a purely domestic invention. Our glamorous Vikings, over-the-top basketball players during the Olympics, or the legendary “28 Panfilovites” are nothing but blunders compared to what Hollywood made of one of the biggest con men of the 19th century, Phineas Taylor Barnum, the man who laid the foundation for the colorful but completely false sky scraper of show business that we are happy to see to this day. Michael Gracie’s The Greatest Showman, starring Hugh Jackman, has nothing to do with the real Barnum other than coincidences, which is the film’s main hoax.

However, before scolding the movie for being untrustworthy, let’s point out the positives. Of course, Jackman, dancing and singing in a high top hat, is extraordinarily good, especially if you keep in mind last year’s “Logan”, where the actor skillfully portrayed a wreck – in the “Showman” Hugh seems to have dropped a decade and again surprises with his ardor and charisma. Great in the movie put musical numbers. Yes, you should be prepared for the fact that this is a musical where the songs are subtitled, but it is not a huge problem – the lyrics are accessible to any schoolboy, so there is time to both understand the meaning and watch the spectacular choreography. Finally, the screenwriters, for better or for worse, have managed to turn Barnum’s highly questionable biography into a fairy tale story about dreams, love, freedom and equality. Given the recent grand bargain, it’s safe to say that Fox has, in this case, given a proper Disney screen presence.

Moreover, from not the most unsightly story of “the showman’s” scam the authors and actors were able to put together an instructive, though Hollywood-style straightforward and naive, tale. The main character gathers freaks and freaks of all kinds under the roof of his circus and convinces them that each of them is beautiful in his own way, and his strange artists really open up, bring the owner a fabulous profit, and then welcome them into a welcoming embrace after Barnum suddenly gets the idea to impress the high society of America with a tour of a European opera diva. Along the way, the viewer is also told a beautiful love story – Phineas has been courting Charity since childhood, for her sake makes the initial savings, and then invests all his income in the home and two charming daughters, one of whom wants to become a ballerina. What a role model!

And now it’s worth turning to official sources and see who Phineas Barnum really was. Oh! This character was worthy of an entirely different movie and certainly didn’t deserve to be played by the thoroughly positive Jackman. Barnum lived a life of lies, fraud and deceit, beating money out of his viewers, partners and creditors by any means available. The film mentions a couple of “machinations” in passing, such as taking credit against non-existent collateral and falsification of circus performers’ data, but it’s nothing compared to what the real “showman” was up to, – He had no shame in passing off an 80 year old woman as Washington’s 160 year old babysitter, selling a potion that made blacks turn into whites, showing a big tuna with a monkey’s head sewn on, telling the audience they were seeing a mermaid.

Despite extensive preparation for the role and the efforts of Rebecca Fergusson, who played the singer Jenny Lind, the actress had to be re-vocalized – her singing did not sound like the voice of the greatest diva of her time. In the film, viewers hear the voice of singer Lauren Allred.
For this man had no boundaries, no morals or obligations, he repeatedly deceived partners, diverted the state around his finger and openly profited from his artists. And he did it not for the sake of his beloved wife and daughters – the real Barnum was married twice, and he had as many as four children.

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The action of the musical takes place in the 1920s in Chicago. One of the main characters is Velma Kelly. A former vaudeville star, she is now in prison, having murdered her husband and sister when they were in bed together. Velma Kelly tells her story in song, greeting the show’s audience.

The viewer is then introduced to Roxie Hart, who killed her cheating lover, Fred Casley. Roxie had always dreamed of a glamorous life and fame. However, her life hasn’t turned out that way at all; the girl has long been married to Amos the mechanic. Her life revolves around her husband and home, but she’s tired of that state of affairs. Roxy decides to become the mistress of Fred Casely, who convinces her that he will help her with her cabaret career. Fred tells the girl that there is a cabaret owner among his acquaintances to whom Casely would be happy to recommend Roxy. However, it soon transpires that Fred does not have any acquaintances. This news shocks Roxie – she kills her lover.

Roxie convinces her husband that they tried to rob her and she committed the murder in defense. Amos agrees to take the blame. Roxie rejoices in her husband’s naivete until the police mention the name of the dead man. Amos realizes everything at once, and the secret comes out. Roxie is arrested.

The girl is sent to prison, where she meets Velma and other female criminals. The unit Roxy is in is run by the corrupt Matrona Morton, nicknamed Mama. Mama helps Velma become the most popular killer of the week in the press. She is also Velma’s “agent,” preparing her triumphant return to vaudeville.

Velma does not like Roxie, who takes away not only her fame but also the attention of lawyer Billy Flynn. Billy, a favorite of his clients, agrees to take Roxie’s case and is willing to cover the girl’s story in the press. Roxie’s press conference turns into a play: the lawyer, like a prompter, whispers to the girl a new version of what happened. Roxy, in turn, faithfully repeats Billy’s words.

Roxie Hart brags that she has become Chicago’s new people’s favorite. As the girl’s popularity gathers momentum, Velma’s case is forgotten. Velma tries to talk to Roxie and convince her to renew their friendship. However, Roxie is not ready to share her fame and declines Velma’s offer. Roxy can’t help but think that her popularity is starting to fade as well. She figures out a way to get back on the front page: Roxy decides to tell the press that she is pregnant.

Act II
Roxy’s husband, Amos, proudly declares that he is the father of Roxy’s unborn child. Meanwhile, Velma tells her lawyer Billy Flynn all the tricks she has saved for her trial. Things don’t go so smoothly between Roxie and her lawyer, though: her client gets into an argument with Flynn and fires him. After returning to her cell, Roxie learns that her cellmate Velma has been released.

Roxie’s trial date gets closer and closer, Billy Flynn is her lawyer again. He convinces the girl that if she can make a show out of the trial, then the case is in the bag. Billy tells Roxie about all the tricks that Velma has planned. The girl uses every one of Velma’s tricks in court. Billie seeks an acquittal for Roxie.

As the verdict is read out, new crime notices make the front pages, and Roxie’s fleeting fame passes. Upon her release, Roxie tells her husband that she is not expecting any child. This is so shocking to Amos that he decides to leave the girl. Left alone, Roxie dreams of the joys of a new life.

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Now modern audiences know the story of A Star Is Born from the fourth official adaptation by Bradley Cooper and Lady Gaga. Their film is a gorgeous and very worthy one. It is a pleasure to watch.

Now before us is the second adaptation of Star Is Born starring Judy Garland. For the actress, this film is like an autobiographical film. For her role in it she won a Golden Globe, but she was not given an Oscar. Just ahead of her was Grace Kelly for ‘Country Girl.

In fact, none of the actresses playing ‘A Star Is Born’ got the coveted statuette for the role: not Janet Gainer, not Judy Garland, not Barbara Streisand (who played the third official adaptation of ‘A Star Is Born’ in 1976), and not Lady Gaga. There’s a curse of some sort on that role.

But back to 1954’s A Star Is Born. It’s actually a great movie. It’s different in that it takes longer than the other screenings. Garland is so beautiful in this picture. It’s like this role was just for her.

We see the story of Esther and Norman. He was a star, and one day Norman, drunk from disgrace, is rescued by Esther on stage, and then sobering up Norman decides to thank the girl, because her voice is gorgeous. He promotes her to the world of cinema, and who knew that she would be the greatest star. A story of ups and downs, love and envy, the world of show business, the story of a star…

• When you become famous, they start calling you by your first and last name.
• What do you want to be called?
• Just “Jack.”

Why is Garland considered a great star? Watch ‘The Wizard of Oz’, ‘Meet Me in St. Louis’ or ‘A Star Is Born’ with her. It’s very clear without words, you just feel her acting, her amazing voice. There was something magnetic about her.

It wasn’t easy for Judy to make this movie, but she let the part go through her, and everything stuck with her. It was Judy who made this movie come alive. Norman was played by James Mason, and it turned out a curious acting duet. In one of the roles remembered Charles Bickford – he was a very good actor.

Some scenes in this musical picture can be revisited and revisited. I’m talking about the performance of the heroine Judy. The film itself looks atmospheric, it has its own charm and a certain zest. And the songs… The songs are great.

The great George Cucor sits in the director’s chair, and he made so many wonderful and beloved films. Cucor was one of the three directors who directed the cult movie ‘Gone with the Wind’, he directed 10 movies with Katharine Hepburn, ‘The Wizard of Oz’, ‘Gaslight’. One could go on and on listing his special and beloved films.

His film A Star Is Born has many pluses, and to this day there is sure to be an audience for it. Personally, I enjoyed watching this beautiful and rousing movie.

‘A Star Is Born’ is a 1954 musical melodrama directed by George Cukor. Bottom line, this movie is like a long song about love, life and work, and the beating heart of it all is the incomparable Garland.

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Trouble begins when Dale is informed that Jerry is the husband of her friend Madge (Broderick), whom she has never met. Angry, she rejects his advances, eventually escaping to Venice with Madge. Jerry and Horace Hardwick (Horton), Madge’s real husband and producer of the show in which Jerry performs, follow them to Venice, and the general confusion is further compounded when Dale tells Madge that Horace has been unfaithful to her. Dale marries her clothing designer, Albert (Rhodes), and Jerry never gets a chance to justify himself.

But no worries: faithful butler Horace (Eric Blore) saves the day. Curiously enough, Blore’s caricatured image of the Italian so offended Italian officials, including Mussolini himself, that The Cylinder was banned in Italy. The film grossed 3 million and was the highest-grossing film of the decade.

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