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• W100101913 abstract "The final sequence of The Pirate is in some ways conventional and in others very odd. Don Pedro/Walter Slezak has been unmasked as the pirate Macoco and is overpowered on the stage by a bombardment of theatrical props wielded by members of the theatre troupe. He collapses upstage, and the film's central characters, Manuela/Judy Garland and Serafin/Gene Kelly, embrace in triumph. Suddenly a huge close up of Serafin/Kelly erupts onto the screen, looking directly out at us but abstracted from place and space against a black background. As though to acknowledge that the audience might think the whole thing over and be heading for the exits, he calls out, 'Ladies and gentlemen, don't move, don't stir, the best is still to come. We have a new star in our brilliant galaxy of players--the beautiful, the beguiling, the divine Manuela'. There is a dissolve, banners advertising Serafin and Manuela peel away and we move over a cheering audience towards another stage onto which burst Garland and Kelly dressed as clowns, and they launch immediately into 'Be a Clown'. The sequence fulfills several of the key expectations we will have in watching a Hollywood musical of the studio period. It ends the movie with an uplifting musical number and with the heterosexual couple happily united. As a number presented on a stage by characters who are professional performers 'Be a Clown' also conforms to a central convention of the backstage or 'show' musical by underlining the couple's romantic compatibility through a demonstration of their compatibility as performers--as in song and dance, so in romance. In this sub-genre of the Hollywood musical the confirmation of the performing couple's future together (their acceptance of it and its celebration in the film's world) resolves the two main narrative lines of the film--the problems of the relationship and the problems of the show. But in these as in many other ways The Pirate works fascinating variations on the conventions. 1) Although performance is one of the film's central subjects and the ending evokes the world of the backstage musical, overall The Pirate does not sit easily in that category (Rick Altman understandably includes it in his category of 'the fairy tale musical' rather than 'the show musical' (1)). The film's movement towards a final affirmation of performance and performers is complex and surprising, involving as it does a substitution of Manuela's acceptance of the life of an itinerant performer for her initial fantasy of being carried off by the infamous pirate, Macoco. 2) The major narrative issues have been all but resolved in the previous sequence. Don Pedro has been unmasked and Serafin has been saved from the gallows with the help of Manuela who performs voluntarily in public for the first time (though pretending to be hypnotized). Her performance of adoration for Serafin/Macoco (he is still publicly identified as the pirate) in the song, 'Love of my Life', is what arouses Don Pedro's jealousy to such an extent that he reveals his identity as the infamous Macoco. The final sequence is, as Serafin/Kelly's address to the spectator indicates, a kind of coda. 3) Structurally its semi-detached status is strongly marked. As Jane Feuer suggests, the cut to close up, the absence of sound carrying over the transition, the break with temporal and spatial continuity, all make the moment unusually jarring (2). There is a continuity of theatrical setting and of popular performance idiom with the reprise of 'Be a Clown', previously performed by Kelly and the Nicholas Brothers, but we don't know where we are or when this number is taking place. 4) Perhaps oddest of all is the image of the couple the number presents. 'Love of my Life', the previous number, creates a familiar performance of heterosexual romance but here we get something very different. The camera moves past banners promising the 'Serafin the Great' and 'the Divine Manuela' towards a stage. …" @default.
• W100101913 created "2016-06-24" @default.
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• W100101913 date "2004-01-01" @default.
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• W100101913 title "Being a clown: curious coupling in 'The Pirate'" @default.
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