[Film: The Night They Raided Minsky’s, William Friedkin, 1968]
Raiders of the Lost Art:

How The Night They Raided Minsky’s Uses a Disjointed Tone as an Asset Rather Than a Detriment

 

Introduction:

The Night They Raided Minsky's poster - William Friedkin, Ralph Rosenblum - burlesque, editing, toneSurely, most folks who are aware of William Friedkin know him only as the director of The Exorcist and The French Connection. Some may also know him for the controversies surrounding his movie Cruising, but virtually no one still knows him as the director of the subject of this article. The Night They Raided Minsky’s is a comedic (fictionalized) account of the unintentional invention of striptease dancing by a young Amish dancer at a burlesque theater in New York City in 1925—a film apparently saved from mediocrity in the editing room by Ralph Rosenblum.

People vaguely aware of the terms ‘vaudeville’ and ‘burlesque’ might be tempted to think of the former as old-fashioned comedy and the latter as old-fashioned pornography, but neither category is that narrow and there’s lot more overlap than one might think. Both are forms of live variety entertainment (meaning they freely incorporate musical numbers, comedy acts, and dancing in a non-narrative format), but you would only hear strings of lewd jokes and see women removing articles of clothing in burlesque. To put things in the terms of the modern American cinematic-moral paradigm, when it came to theatrical variety shows on late-19th-century and early-20th-century American stages (adapted from French theatrical concepts), vaudeville was like PG or PG-13 entertainment, whereas burlesque was R.

The Night They Raided Minsky’s is a touching tribute to the often-misunderstood practice of American burlesque, including all of its textures: its whimsical joys, its seedy inauthenticities, and its relationships to the morals and economics of its time. And that unique blend of dirt and glamor, lust and love, greed and sincerity—admirably spreads out of the substance of the film and into its style.

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[Film: The Night They Raided Minsky’s, William Friedkin, 1968]
Raiders of the Lost Art:

How The Night They Raided Minsky’s Uses a Disjointed Tone as an Asset Rather Than a Detriment

was last modified: March 26th, 2020 by Daniel Podgorski

[Work: The Winter’s Tale, William Shakespeare, 1611]
But Your Kind Hostess:

Rhetoric, Meter, and Tone in Act I Scene ii of Shakespeare’s The Winter’s Tale

 

Introduction:

William Shakespeare Sanders Portrait - The Winter's Tale - Act 1 Scene 2 - rhetoric, meter, tone, dialogue, analysis

Sanders Portrait of William Shakespeare

In accordance with the heightened complexity in the structure of Shakespeare’s later plays, the rhetoric and verse forms grow more dense. The intertwining thematic and formal constructions visible throughout his body of work become knotted and subtly layered.

One such instance of this mode of high-wrought writing meeting structural experimentation in the later works of Shakespeare is The Winter’s Tale. Its narrative twists (and, indeed, genre twists) set the stage for dialogue pregnant with verbal and dramatic irony.

Careful attention to a particular passage and to the relationship between that passage and the entire play can yield a vivid portrait of how the play’s thematic concerns are woven into every moment. The passage near the beginning of The Winter’s Tale wherein Hermione convinces Polixenes to stay in Sicily is a potent example of this. In this scene, the play’s concerns with authoritative testimony and with gendered power structures belie the facade of courtly playfulness. These areas of interest, though never explicitly confronted, are present in the passage’s musicality, rhythm, diction, and rhetoric.

There is a confluence in the dialogue formed by the rhetorical flux of femininity, power, youth, and virtue and the ironic metrical disharmony of the dialogue’s participants which situates the scene as an introduction to The Winter’s Tale‘s comedy with hints of its imminent tragedy.

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[Work: The Winter’s Tale, William Shakespeare, 1611]
But Your Kind Hostess:

Rhetoric, Meter, and Tone in Act I Scene ii of Shakespeare’s The Winter’s Tale

was last modified: March 26th, 2020 by Daniel Podgorski