Advice for directors of new musicals in a wicked little town

So, earlier tonight I went off on a bit of rant inspired by a really strange sounding remark made by show-biz reporter-pundit Nikki Finke to the effect that she thinks “Nine” failed at the box office not because it’s a fairly poorly received film with a vague premise, but because it wasn’t gay friendly enough. No need to repeat my snark-laden commentary, but I thought I’d present the piece below as a bit of food for movie thought.

I debated whether or not to include this sequence in my recent look at musical films of the 2000s, but opted to include another scene from John Cameron Mitchell’s amazing “Hedwig and the Angry Inch,” easily my choice for one of the two or three best musicals made over the last decade or so. Now it seems apt.

Given the storyline, this movie — and this scene — certainly does not lack for the LGBT awarness Finke seems to demand of a modern musical. However, the reason I’m including it here is that, despite my personal opinion that Kate Hudson is way cuter than anyone you’re about to look at (sorry, Kwahng-Yi, et al), I think Mitchell’s approach to filming a musical sequence is pretty vastly superior to Marshall’s — though they are both disciples of Bob Fosse.

Sometimes all you need to do is to keep things simple. So far, I’ve never seen Marshall try that approach. Maybe he’ll give it a shot sometime.


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