![Smile :)](./images/smilies/icon_e_smile.gif)
also i didn't realise that the latvian (& very lovely, esp if you've a thing for sea/coastal stories like me) zvejnieka dēls/the fisherman's son by the variously spelled lapenieks/liepnieks is 1940. i'll have it up tomorrow.
Don't worry about that, we all look the same down here in the south Patroncita.
Yup, this was her Hollywood debut! To the film's partial credit, before her performances we see nightclub signs specifically calling Carmen Miranda a "Brazilian sensation," so the idea is just that she's touring Argentina at the time. But obviously these aren't distinctions Hollywood actually cared to make or succeeded in making; they just wanted to give the appearance of being culturally sensitive while subsuming specific identities into the 'South American way'.
Yeah, that fits my experience of them too and holds for most of McLaren's later solo work as well that I've seen.Just watched the two Mary Ellen Bute/Norman McLaren collabs from 1940, Tarantella and Spook Sport (both easily found online), which both somehow feel more alive to me than other shorts in the same vein, including McLaren's own 1940 offering, Dots.
Tarantella doesn't have McLaren listed as a director on imdb or letterboxd. McLaren also has one other solo short from 1940 according to imdb and letterboxd, Loops, and another according to just letterboxd, Boogie Doodle. Anyway, I watched them all (except Tarantella, I'm arachnophobic as a motherfucker, and based on the intro it just did NOT seem like it would be a pleasant experience), and mostly agree. Spook Sport was more interesting than Dots, Boogie Doodle, or Loops. Although, to be fair, I didn't find it ravingly enjoyable - just a solid 3/5. But it at least had a little something. The McLaren solo shorts were interesting ideas carried out as perfunctorily as possible.
Ah, gotcha. Makes sense.
Lol!twodeadmagpies wrote: ↑Tue Jan 22, 2019 8:43 pm i started off with a very reasonable watchlist of around 30 1940 films, but i've managed to whittle it down to a merely impossible 77.