snickfic: (Xander Anya)
Yanno, there are only so many things a vamp can do during the day, and there's only so much daytime TV to be had. Makes sense Spike might develop a taste for other things on occasion.

SPIKE: You should go back in, finish the big group sing, get your kumbayayas out.

BUFFY: I don't want to.

SPIKE: The day you suss out what you do want, there'll probably be a parade. Seventy-six bloody trombones.

6.7 Once More With Feeling

Which, we're in a musical episode, yeah? Fair enough if we quote one or two (although I can't off hand remember anyone else doing so). This one's an allusion to The Music Man, of course.

But then there's this:

DALTON: [hands Spike completed translation of the Du Lac manuscript]

SPIKE: By George, I think he's got it!

2.9 What's My Line, Part I

Which, if this were My Fair Lady, would then be followed with Dalton waltzing around the factory with Spike (and also whoever we tap to be Colonel Pickering) and then being ushered off to bed by the other minions while he sings "I Could Have Danced All Night." Which, hmm, just as well we didn't.

(Spike's line here is actually why I had him and Dawn watch My Fair Lady in Seraph, and how I justified him having such strong opinions about it.)

So now I'm really curious: does Spike quote any other musicals? How deep does his affection for them run?
snickfic: (Default)
Conspiracy Theory isn't a musical, but I'm the blogger 'round this here blog, and this is the clip I wanna talk about this week, so there. (And there is music...)

Conspiracy Theory (1997; Mel Gibson and Julia Roberts) is an odd duck. It's a thriller in plot terms, complete with the most intense torture scene I've ever seen in film, yet I find it hilarious. It's structured like a romance, but half the pairing is a paranoid probably-schizophrenic who rotates between pathetic, awkwardly sweet, and right creepy. Mel Gibson makes the film as Jerry Fletcher, yet it's not all about him; Alice Sutton, the Justice Department gal he's sweet on, gets her own frequent moments of fabulousness.

All that, and yet it never quite lives up to the opening credits sequence. Check out the clever placement of logos and credits, appreciate the perfectly-chosen music, and let Jerry Fletcher's litany of paranoid truths wash over you. It's brilliant.

[The credits are the first 3:50 of the clip.]

snickfic: (anya bunnies)
This week's selection is newer and more readily available than most of what I've chosen so far, but I discovered Sweeney Todd last summer and haven't gotten over the infatuation yet. From a story point of view, I find it immensely more satisfying than any other Tim Burton film I've tried, and Helena Bonham Carter is just fabulous in it. I almost chose her and Johnny Depp singing the cannibalistic "A Little Priest," but settled on this one, which is as wickedly funny and is all Carter.

snickfic: (ep OMWF)
Enough of these everybody's-seen-'em-and-loves-'em musical numbers. Here's the opening ensemble song from Newsies (1992). Much-maligned initially; now a cult classic. Most of the folks in this movie can carry a tune, although few of them carry it very gracefully. But it's fun!

Because: Veddy young Christian Bale. Robert Duvall as Joseph Pulitzer. Unionization of scruffy newsboys circa 1900. Acrobatic synchronized dances in the streets! Stirring strike anthems!

See here:
snickfic: (ep OMWF)
It is now today and not yesterday; I plead spring break for the time warp.

Today we visit one of my favoritest movies ever, Mary Poppins. There are a number of fun, rowsing numbers like "Supercalifragilisticexpialidocious" and "Fly a Kite," but my personal favorite (and the one I learned to play on the harmonica) is this one: "Feed the Birds." Soft, eerie, with a big background orchestral sound.

Plus, today we have extra bonus Mary Poppins content! First, if you haven't seen the trailer for Mary Poppins as a horror film, then you must. Right this minute. I kind of don't get the point of traditional vidding, but this is another beast entirely, and it's superb.

And second, if you ever thought you maybe might want to ship Mary Poppins/Bert just a little bit, then you need to read Wind in the East, a Yuletide fic by DragoJustine that also ships them just a little bit. It's quiet and somewhat melancholy and very much in the spirit of the film.
snickfic: (anya bunnies)
I love musicals. You do, too. (If you don't, you should. You shall!) Hence Sunday is now "Here's a Really Fabulous Musical Number that Snick Likes a Bunch" Day here at The Blog.

First up is The Music Man, which for wordplay and cleverness and appealing characters and colorful ensemble pieces and wit and a librarian lead and a few other reasons is my very favorite musical. I found myself choosing between seven or eight really top-notch pieces, but settled on this one, which is iconic for a reason.

For one thing, yes, fun lyrics with interesting vocabulary. But most importantly: Robert Preston. He starred in the stage production for years before appearing in the film, and it shows. Every intonation, every expression is spot-on. He gives Professor Harold Hill all the charm a scheming salesman could wish for.

Without further ado, Robert Preston, ladies and gentlemen:

(The video cuts off about ten second early. Be forewarned.)


snickfic: (Default)

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