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Sylvestra Le Touzel,
After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes. Written by
Steve Fenwick <email@example.com>
At the beginning of the scene showing the recital in which Sullivan's song "The Lost Chord" was sung, the pianist is shown playing the last few bars of the Nocturne No. 4 in E-flat major, Op. 36, by Gabriel Faure. The piece was first published in 1884, not long before the events depicted in the film. See more »
The Japanese exhibition that Gilbert and Lucy attend did not open until after Gilbert had started work on "The Mikado". Nor did Gilbert purchase a Japanese sword from said exhibition. See more »
They walked downstage in the Japanese manner.
John D'Auban, Choregrapher:
They walked downstage in the Japanese manner because they are Japanese.
Exactly, and that is precisely why they are here.
John D'Auban, Choregrapher:
Our three little maids are not Japanese. However, they are very funny.
No funnier, however, than they would be if they all sat down on pork pies.
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Artfully Constructed and one of the year's best films.
Much has been said here regarding the brilliant costumes, art direction and acting. The one thing I would like to point out is the misconception many have had about the script itself.
Several comments here have claimed that the film is "clunky" in that several scenes apparently added nothing to the film. They also said there was no character development. I think these people need to realize that the depth they seek is contained in the very scenes they wished excised. Which show us all of the different aspects of these characters' lives.
While appearing to be unimportant, empty or simple these many scenes reveal incalculable depth and character insight. The rehearsal scene for just one example, while seeming initially to be a little comedic scene shows us the nature and attitude of both the author and the actors involved in their creative processes.
The performance scenes are also not superfluous as some have wrongly asserted. We can see the characters we have come to know and how they deal onstage with the problems we know they have in their lives: through expressing themselves in their art!!!
In addition the scenes are not arbitrarily strung together but all contain a subtle cause and effect throughline. Sometimes these are reversed as when a cause is revealed only after we have repeatedly seen the effect (as in the revelation of Grossman's illness). Many of the scenes which people have called "tacked on" at the end (like the stunning scene between Gilbert and his wife Kitty) are in fact set up in the earlier parts of the film if you pay close attention and are in actuality a natural progression of these relationships.
Even the very last scene when the leading lady sings is there to show us her identification with the song she is singing and therefore an indirect relationship with her lyricist and composer. This film needs to be seen more than once to appreciate how well constructed it truly is
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