Greatest Song and Dance
Musical Moments and Scenes

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Greatest Song and Dance Musical Moments and Scenes
Film Title/Year and Brief Musical Scenes Description
Screenshots

Cabaret (1972)

This multiple Oscar-winning film by Best Director-winning Bob Fosse, one of the greatest and most unconventional musicals of the 70s, followed its Broadway production debut in 1966 (when it won eight Tony Awards). The film opened with a bawdy but cheerful dance number Willkommen by Berlin's seedy Kit Kat Club's androgynous, leering, devilish, white-faced, and cynical emcee/master of ceremonies (Oscar-winning Joel Grey); then followed the sexy, energetic number Mein Herr by hedonistic American dancer/singer expatriate Sally Bowles (Oscar-winning Liza Minnelli) wearing a black derby hat and a deep V-necked costume reminiscent of Marlene Dietrich; they performed a duet of Money, Money ("Money makes the world go round"); the film was also noted for the chilling scene at an outdoor German beer garden cafe in which a seemingly innocent pastoral ode to Germany sung by a fresh-faced, tenor-voiced blonde youth, Tomorrow Belongs to Me turned into a Nazi rally - it was revealed that he was wearing a brown uniform and his arm was wrapped with a Nazi swastika armband - and the patrons joined in the triumphant Nazi anthem ("Now Fatherland, Fatherland, show us the sign Your children have waited to see The morning will come When the world is mine Tomorrow belongs to me"); also memorable was Sally's show-stopping, forcefully-sung song of defiance as a star singer - the title song Cabaret ("Life is a cabaret, old chum / Only a cabaret, old chum / And I love a cabaret!"); in the final reprise of Willkommen, the MC grinningly asked: "Where are your troubles now?" before singing: "Auf wiedersehen! A bientot..." - afterwards, he bowed, disappeared behind a curtain, and then a camera pan (with a long snare drum roll and cymbal crash) found two Nazi swastikas (armbands on audience members) reflected on a twisted, mirrored mylar-silver wall.




Cabin in the Sky (1943)

This Arthur Freed-produced MGM musical fantasy adaptation (Vincente Minnelli in his directorial debut) of the 1940 Broadway hit show, an all-black musical, featured the radiant Ethel Waters reprising her stage role as loving wife Petunia Jackson although Dooley Wilson (as her sinning husband "Little Joe" Jackson) was replaced by the more recognizable Eddie "Rochester" Anderson; Lena Horne portrayed the wicked, satanic and seductive temptress Georgia Brown, along with the other characters: the devilish Lucifer Jr. (Rex Ingram) and the angelic, white military-uniformed General (Kenneth Spencer); this sepia-toned, all-black musical featured Waters' and Anderson's duet of the title song, her moving performance of the Oscar-nominated Best Original song Happiness Is a Thing Called Joe, and Waters' joyful Takin' a Chance on Love (pictured), while Lena Horne performed the sexy Honey in the Honeycomb.

Caddyshack (1980)

In this infamous comedy, the golf caddies performed a Busby Berkeley-styled synchronized pool dance; the film also featured the famous animatronic gopher who danced to Kenny Loggins' I'm Alright.


Calamity Jane (1953)

This rousing Warner Bros.' musical, loosely based on historical facts and set in the Old West in Deadwood, Dakota Territory, starred Doris Day (in her best musical appearance) as the Wild West's fast-shootin', tough-talkin', cross-dressin', buck-skinned stagecoach driver/cowboy, in a story about the Golden Garter saloon and her romance with Wild Bill Hickok (Howard Keel in a role similar to the one he played in Annie Get Your Gun (1950)); musical numbers written by Sammy Fain and Paul Francis Webster included The Deadwood Stage (Whip-Crack-Away!) (pictured), Just Blew In from the Windy City (pictured), The Black Hills of Dakota (pictured), Higher Than a Hawk, A Woman's Touch, and the Oscar-winning Best Original Song Secret Love (pictured) sung by Day; there was also the competitive duet of I Can Do Without You between Keel and Day.




Camelot (1967)

Joshua Logan's big-budget and cumbersome film adaptation of the Lerner-Loewe Broadway musical hit (based on T.H. White's The Once and Future King) starred non-singing performers, including actor Richard Harris (replacing Richard Burton) as King Arthur and Vanessa Redgrave (replacing Julie Andrews) as Queen Guenevere, who sang such songs as the charming Camelot, What Do The Simple Folk Do? and I Wonder What the King Is Doing Tonight; also, French knight Lancelot (Franco Nero replacing Robert Goulet and with singing voice Gene Merlino) performed If Ever I Would Leave You, and the members of the court sang The Lusty Month of May.

Can-Can (1960)

Fox's flat and lifeless version of the Cole Porter-Abe Burrows musical play, with an Oscar-nominated Best Score (by Nelson Riddle), starred Shirley MacLaine in one of her earlier films as Simone Pistache - the owner/operator of an 1895 Paris Night Club that specialized in the forbidden, skirt-lifting dance alongside miscast Frank Sinatra as her lawyer boyfriend François Durnais; it also starred Maurice Chevalier and Louis Jourdan (from MGM's Best Picture-winning Gigi (1958)), and exuberant dancer Juliet Prowse as a can-can girl; one of the best numbers was Sinatra's It's All Right With Me.

Can't Stop the Music (1980)

This infamous musical (a Razzie Awards winner) starred the Village People with their notorious gay-themed Y.M.C.A. number, the knock-off Busby Berkeley-like Milk Shake number, and the finale Can't Stop the Music.

Captain January (1936)

The film was a remake of the 1924 film featuring silent superstar Baby Peggy Montgomery. Shirley Temple (as precocious, cheerful orphan Star) provided a memorable dance/song rendition of At the Codfish Ball (pictured) with partner Buddy Ebsen (as unemployed Paul Roberts) on the street of a New England fishing village. In addition, Shirley Temple, Guy Kibbee (as Cape Tempest, Maine lighthouse keeper Captain January) and Slim Summerville (as tattooed cribbage-playing government inspector Captain Nazro) joined in a take-off of the then-popular operatic aria in movie musicals, using nonsense words to perform Donizetti's Chi mi freno in tal momento? (pictured) aka "Sextet" from "Lucia di Lammermoor."



Carmen Jones (1954)

Oscar Hammerstein II's 1943 stage musical was updated (with new lyrics and storyline) and adapted for the screen - and directed by Otto Preminger for Fox Studios; this updating of Georges Bizet's Carmen opera starred an all-black cast with a Best Actress Oscar-nomination for Dorothy Dandridge (the first time an African-American performer had been nominated in the category); Dandridge starred as the sexily-wicked, femme fatale title character Carmen Jones (singing voice dubbed by opera singer Marilyn Horne) opposite Harry Belafonte (singing voice dubbed by LeVern Hutcherson) as her infatuated lover and army corporal Joe; the film's show-stopping numbers included Dat's Love set in an army camp mess hall, and Pearl Bailey's Beat Out Dat Rhythm On a Drum.


Carnival of Souls (1962)

Director Herk Harvey's disturbing, low-budget horror thriller was notable for its macabre "dance of the ghouls" in Saltair - an abandoned, condemned and closed-down lakeside amusement park, where female car wreck survivor Mary Henry (Candace Hilligoss) was lured by a white-faced zombie.


Greatest Song and Dance Musical Movie Moments and Scenes
(alphabetical by film title)
Introduction | A - 1 | A - 2 | B - 1 | B - 2 | B - 3 | C - 1 | C - 2 | D - 1 | D - 2 | E | F - 1 | F - 2 | G - 1 | G - 2
H - 1 | H - 2 | I - J | K | L - 1 | L - 2 | M - 1 | M - 2 | N - O | P - 1 | P - 2 | R - 1 | R - 2 | S - 1 | S - 2 | S - 3 | T | U - V | W | X - Z

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