Hello,Dolly !
Our summer cycle will be festive or not. Sound and image, song and dance, instrument and breathing, strings and gestures: so many possible combinations to express what cinema and music can achieve and express together. Musicals, concert films, catchy music. Jazz, classical, contemporary, disco, punk... Revolt and enchantment, distress and emphasis, joy and rhythm, melancholy and bass, laughter and stridency: diverse expressions characterizing cinema and music's historical alliance, will definitely make us fly, dream, dance!
From the 30's to the present day and across all possible genres, this cycle aims to open our minds at a time when we most need it. The first week of July will be an eventful one, as the cycle will open with several evenings in cabaret mode, where we will present for the first time concert films produced in Quebec during the confinement, with the participation of major artists of the current music scene: Klô Pelgag, Marie Davidson and Godspeed You! Black Emperor.
Barbra Streisand and Gene Kelly : perfect match.
New York City, 1890. A young widow looks at new pretendants.
Gene Kelly
Gene Kelly was an American actor, dancer, singer, filmmaker, choreographer, and producer. Along with Fred Astaire, he is probably the most influential male figure of the Hollywood musical in the 1950s. He was known for his energetic and athletic dancing style and sought to create a new form of American dance accessible to the general public, which he called "dance for the common man". His name is attached to several classics of the genre, such as The Pirate (1948), An American in Paris (1951), and Brigadoon (1954) by Vincente Minnelli, as well as On the Town (1949) and Singin’ in the Rain (1952), which he co-directed with Stanley Donen. He can also be seen in Les Girls (1957) by George Cukor and The Young Girls of Rochefort (1967) by Jacques Demy. He later directed several films, including the musical Hello, Dolly! (1969) starring Barbra Streisand. His innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences.
Photo: Collections de la Cinémathèque québécoise
