[ SECRET POST #5505 ]

[case]

⌈ Secret Post #5505 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.


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Notes:

Secrets Left to Post: 01 pages, 21 secrets from Secret Submission Post #787.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[fscom]

03. https://i.imgur.com/ZjjvyRg.png

[(Anonymous)]

Disagree. I think the very reduced but versatile set with limited but cool mostly manually done effects was what made it interesting.

But I think an animared movie could work well.

[(Anonymous)]

Practical effects are always a win.

[(Anonymous)]

Gosh the set was lovely. And the way the spinning rings were used during certain pieces was phenomenal--I can't imagine the Chant reprise without it.

[(Anonymous)]

this!

[(Anonymous)]

Yeah, the abstraction of the set into the spinning rings was a big part of the experience for me -- I'm not sure the story could withstand a more prosaic interpretation.

OP

[(Anonymous)]

I will say that I love the animatics that people do, they're quite wonderful. And I think I'd prefer animation too.

[(Anonymous)]

How come? Do you want more variety in the sets, or...?

OP

[(Anonymous)]

I think the story is slightly diminished by not understanding the true power of Orpheus' song. At best you get Persephone and Hades to try, and that is verbally said to fix the seasons, but from fandom and other commentary, it's pretty clear that Orpheus as a character and the strength of his purpose isn't coming through sympathetically to the audience. And because of that it's also doesn't come through that Eurydice's "hunger" is a fault rather than just a vulnerability. This is also a personal thing but the "revolt" seem way less threatening when I saw it than when I heard it on the cast recording alone. But I wouldn't want to change the book, in that I like it a lot!

I also think that half of Hades seductiveness comes from Patrick Page's voice and if you don't have him, and you won't forever, then I think you need a little more to make it work.

OP

[(Anonymous)]

ALSO I totally get why Hades loved or loves Persephone (because if nothing else there's death loves life tropes there), but it's far less clear what is happening on her end and while that doesn't have to be a problem, I think any understanding of why she would love a non-industrial Hades could be done visually without a lot else changing and bring a little more pathos to them.

I don't know, there's a climate change background to the musical, and I would like a little nod to the fact that there is life in the ground (bioluminescent mushrooms, tree roots, burrows, etc) that Hades was crushing by trying to recreate the Sun for her, and she didn't need that.

[(Anonymous)]

I would love a musical movie of "Hadestown" but I think after Tom Hooper ruined both Les Mis and CATS (CATS being the most popular opinion of bad movies and a literal guidebook on "what not to do with movie musicals". It should've been fully animated by Illumination Studios with their unique character styles, since it's a parent company of Universal, who've held the movie rights to CATS), it's safe to say that we're not getting any movie musical adaptations in a while. Let's see how the film musical adaptation of "Wicked" goes with movie-goers because I am excited to see Ariana Grande nail Glinda and Cynthia Erivo is equally talented and I'm sure her Elphaba will be amazing as well. Hope it doesn't flop like "Rent" and "The Producers" did in 2005.

[(Anonymous)]

Honestly I feel like if Hollywood just has to make more musicals into movies they need to stop hiring directors who don't like/don't understand musicals to direct them. We've had several musical movies released in the last few years and the only one I think really nailed it was by a large margin Tick Tick Boom, and I don't think it's a coincidence that it was the only one directed by someone who knows how musicals are supposed to work.

[(Anonymous)]

Tick Tick Boom is really good. As far as the 2000s go, I loved Chicago, Dreamgirls, and Hairspray. Sweeney Todd was okay. Nine (I would've gone with Antonio Banderas than Daniel Day-Lewis, who was phenomenal as Guido in the 2003 revival. I liked Chicago but Rob Marshall is trying to apply the same formula that doesn't work for Nine), Mamma Mia, and the 2004 Phantom of the Opera movie were really bad, as was Rent (I liked that it had half the original cast but they were really too old for their roles at that point), and The Producers tried to use some 4th wall breaking that only works on stage and not the screen. Fast forward to the 2010s, Les Mis and CATS did not work at all and this was from a director that I liked for his work on "The King's Speech" (This pretty much echoes what you've mentioned about hiring directors that don't understand musicals). I haven't seen "The Last Five Years". "Into the Woods" was okay and I liked Meryl Streep as the Witch and Anna Kendrick as Cinderella. "Annie" wasn't good and I think it was this movie that lead Cameron Diaz into retirement.

[(Anonymous)]

There's a film adaptation of the Cyrano musical from 2019 coming out in February, but the director did that "live on set singing by non-singing actors is more authentic BS, with so/so results.

OP

[(Anonymous)]

I hope Ariana fucking enunciates then. I can't tell if that's an act or a persona but I hope so, as being mealy-mouth doesn't work for Glinda at all. That said, I trust Cynthia with Defying Gravity and that's all I need really.

[(Anonymous)]

Tick Tick Boom and the new West Side Story were both fantastic and give me hope for more movie musicals but I'm afraid the general public has been soured for them for a good while. 😔

OP

[(Anonymous)]

Thank you for making the secret!