
Contents
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On the Town On the Town
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(Broadway 1944; MGM 1949) (Broadway 1944; MGM 1949)
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Adapting On the Town from Stage to Film Adapting On the Town from Stage to Film
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“Probably the Butcher Job of the Decade”: Adapting a Classic Score “Probably the Butcher Job of the Decade”: Adapting a Classic Score
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“A Day in New York” “A Day in New York”
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Call Me Madam Call Me Madam
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(Broadway 1950; 20th Century-Fox 1953) (Broadway 1950; 20th Century-Fox 1953)
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Stage versus Film Stage versus Film
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“You’re Just in Love” “You’re Just in Love”
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A Film That Surpasses Its Model? A Film That Surpasses Its Model?
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Postscript: Two Good Movies Postscript: Two Good Movies
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3 Challenging the Hollywood Studio Model: On the Town versus Call Me Madam
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Published:May 2023
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Abstract
This chapter is about the transition away from the film adaptations that reinforce the studio system values in place since the beginning of the sound era. Before 1950 most film adaptations regularly allowed studio composers to replace stage songs with new film songs and in general took great liberties with the stage sources. The first film musical discussed in the chapter, On the Town (1949), illustrates this approach when it famously removed most of Leonard Bernstein’s stage score from the film. With the new decade studios came to realize that audiences familiar with the stage cast albums desired more faithful film adaptations, including films that featured most of the original stage score and one or more cast members from the original stage version. The new fidelity is exemplified by the second work discussed in this chapter, Call Me Madam, which in its film adaptation retained nearly the entire Broadway score and cast Ethel Merman, its stage star, in the lead.
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