During the part where the girls are in period undergarments (of that time), you can see some cleavage at different parts throughout them talking, dancing, and interacting while in the boys bedroom. And during the part where the brothers are wrapped up in blankets, one walks in the dining room with the blanket barely covering his thighs and the second oldest brother’s shoulders are visible outside of the top of the blanket. Otherwise, it is a decent and clean movie.
This is set in the 1850’s and has all the morality inherint to those times. (ie: No nudity or sex) There is one section where the girls dance in their underwear, however, as befits the times, this is pantaloons (to the knees) a chemise (short-sleeved top) with an underbust corset. There is no ‘shape’ to the breast area, nor is any of the clothing tight or revealing (other than the corset area being tight, but that isn’t revealing at all).


Film review:Translated by www.rabudo-ru.com


Binary opposition in type slice

    

Levi Strauss, a French structuralist philosopher, found in his study of mythology that the study of mythology is to find a primitive logic or thinking principle that is generally effective to human beings all over the world. One of such logic and principles is binary opposition. Hollywood, as a dream factory in the 20th century, created and produced a large number of genre films, which is a modern interpretation of the logic and principles of ancient myths. We try to explore the binary opposition in this “myth” by taking the film “seven couples” made by the famous song and dance genre director Stanley dunone in 1955 as an example.

   

Adam palladi and his six younger brothers live in a hut on a remote farm near a desolate forest wilderness. Only when it was time to trade crops would Adam go to a nearby town, sell the agricultural and animal husbandry products they produced, and buy the necessities of the seven brothers. Here, the remote farm where the palatti seven brothers live forms a binary opposition with this relatively rich and developed town. The wilderness of the farm and the civilization of the town are the concentrated embodiment of this opposition. On the surface, Adam, a man with a thick beard, seems a little out of tune with the residents of the town, and he doesn’t seem to want to have any contact with the residents of the town except for the necessary product transactions. But the problem soon came. There was no woman in the remote farm where the seven brothers lived, and they all seemed to be in urgent need of a wife. This thorny problem should be solved first by Adam as the eldest brother, and he can only find his wife in this not too far away town. Fortunately, Millie, a gentle and virtuous girl in the town, fell in love with Adam at first sight, so Adam happily drove Millie home.

If the opposition between the farm and the town in the beginning of the film is only superficial due to different regions and modes of production, then when Millie, as a “civilized person”, really lives in a “savage” family, we can see the manifestation of this opposition in the characters’ psychological consciousness and behavior. After marrying Adam in his remote cabin, Millie accidentally found that Adam had six rough and wild brothers living with him. Moreover, their appearance is dirty and sloppy, their clothes haven’t been changed for a long time, and they fight for small things from time to time. All these are unacceptable and tolerated by Millie as a dignified lady in the town. So Millie tried her best to change the bad situation of the seven brothers. She ordered them to change their underwear before they could have breakfast, and taught them the basic etiquette on the table. In order to stop the six brothers from fighting often, Millie told them how to act like a gentleman and how to act to please the girls in the town. It was time to test Millie’s “teaching” achievements. Adam and Millie took their six younger brothers to a luncheon for young people in the town. At the beginning, several young men on the farm were generous and won the favor of the girls, but soon they fought with the young men in the town, resulting in a mess at the lunch party. It can be seen that small town residents from the civilized world have always been deeply hostile to several savage brothers in remote farms, and this hostility is the result of the serious opposition between civilization and barbarism.

In addition to the opposition between civilization and barbarism, the director also shows us a kind of Gender Opposition, which is reflected in the different attitudes of men and women towards love and marriage. At the beginning of the film, Adam said jokingly, “don’t you have a wife at the counter here?” The important reason why Adam wanted to marry a wife was that their seven brothers lived in a pig’s nest and their food tasted bad. Adam thought finding a wife would probably help them improve this terrible environment. It can be said that in Adam’s eyes, the wife is more an object of practical value than the object after the sublimation of his love for women. However, for women, marriage is obviously the product of pure love. They have very romantic expectations for the combination of love and marriage. Millie said on the way home with Adam, “when I heard men shouting for dinner at the inn, I thought how wonderful it would be to cook for only one man. Only for one man!” It is this different expectation of marriage life that makes Adam and Millie have serious differences on their first wedding night. Millie believes that Adam doesn’t want a wife, “but a cook, a washwoman and a maid.” Adam argued, “it’s hard to live in the wilderness. Of course, a man needs a woman who can work next to him.” Adam and Millie, men and women, although they live under the same roof, the internal motivation that guides them to combine is so different. Men are eager for their married wife to bring them all kinds of benefits, while women believe that marriage should only be the result of romantic love. This opposition between men and women is also a kind of opposition between pragmatism and romanticism.

The fusion of binary opposition in song and dance genre films

In Strauss’s study of myth, he not only mentioned the universal existence of the basic law of binary opposition in myth, but also put forward how myth manipulates and uses this Law of opposition. He pointed out: “mythological thinking always starts from the consciousness of opposition and moves towards the solution of opposition.” In other words, myths should not only raise problems, but also solve problems as much as possible.

In the monograph “Hollywood genre films” written by Hollywood genre film expert Thomas Schatz, he divides many Hollywood genre films into male dominated order type and female dominated integration type. This typical Hollywood song and dance film seven couples undoubtedly belongs to this integration type dominated by women. This type “usually has a pair (couple) or a group (usually family) lead. Their personal and social conflicts are internalized and transformed into emotional vocabulary. Their interpersonal confrontation finally succumbs to the needs of a well-ordered community. Fusion always happens through romantic love. After the initial hostility, the couple found themselves in the final embrace. ”

Now let’s take a look at how director Stanley dunone fused the binary opposition in seven pairs. After Adam truthfully expressed the difficult situation of himself and his brothers, so he needed a hard-working woman to help him with his housework, he said: “if she has bluer eyes than cornflower and her hair is as light as wheat in the sun, he will think he has real happiness.” In other words, Adam, as a pragmatic man, in fact, he also has expectations for a beautiful love in his heart. The desire to find a hard-working and capable wife who can become a right-hand assistant in his life is only Adam’s helplessness forced to make a living as a remote farmer, and of course every man wants to marry a woman who is not only capable but also beautiful and affectionate. Here, a man’s expectation of love (although love is second in front of livelihood) well catered to women’s needs for a tender husband in marriage, so the contradiction between Adam and Millie was soon resolved.

But Adam’s six brothers were not so lucky. After the failure of the luncheon that ended with a fight, the six brothers soon fell in love with the girls in the town. At this time, the eldest brother sincerely said a proverb about love: “my father said that love is like measles, often only once in a lifetime, and the older you are, the harder it will be to get it.” Here, we have every reason to believe that the feelings of the six young men for the girls in the town are sincere. So, how do these rough and somewhat savage boys capture the hearts of several gentle ladies in a civilized town? At this time, the director introduced the allusions of Sabin women in ancient Rome. Sabin people are an ancient Italian people living in the center of abinese mountains. Romulus, a tribal leader of the Roman Empire, has long coveted Sabin women’s property and beauty. So when the Romans invited sabins from neighboring countries to their own banquet, they quietly entered Sabin city and robbed the young and beautiful women there. So, several brothers followed the old legend, sneaked into the town late at night, and plundered the six sweethearts into a remote farm cabin. Here, the six brothers actually adopted a barbaric invasion suitable for their identity to illegally invade the civilized town. This intrusion intensified the contradiction between the already incompatible town residents and the farm brothers.

When the girls in the small town were just robbed, they still had a very strong fear and boredom. However, in the days of getting along with their brothers day and night, the girls in the small town gradually fell in love with six handsome, honest and honest brothers. This kind of love is the mutual attraction between young men and women based on instinct and nature. This kind of love overcomes the natural gap between rough boys and quiet ladies, and completes a mutual taming between barbarism and civilization. It can be said that the way of using this lubricant of love to reconcile the opposition between the small town girl and the six brothers is the same as the way of using love to reconcile Adam’s practicality and Millie’s romance above. It is a common way to integrate the male and female protagonists in song and dance (Comedy) films.

But after taming the girls in the town, the boys’ suffering did not end. If love can indeed resolve the opposition between men and women, the opposition between the civilized lifestyle of small town residents and the wanton plundering of women by several brothers in remote farm huts is more deeply rooted. Soon, spring came, and the snow between the town and the farm melted. The father and brother of several girls in the town rushed to the farm to recapture these girls who belonged to a civilized town. At this time, the girls had already fallen in love with the boys on the farm. They didn’t want to go back to the town with their father and brother. So the sharp contradiction between the town and the farm appeared again. Just then, a miracle happened. Millie just cried loudly for the baby born to Adam. All the fathers seemed to think that the baby might be the child born to their own daughter. So they gave up taking their daughter back to the town and invited the priest to hold an interesting group wedding for the farm boys and the town girls. The factor to resolve the contradiction between the town and the farm is actually a newborn baby, and this “impossibility” in reality can be put into the Hollywood song and dance (comedy) type, which can not only make the audience believe it, but also make the audience feel humorous and interesting for this unique setting.

American film critic Molly Haskell once commented on the narrative solution paradigm of some melodramas: “so many happy endings, its forced passion and dexterous escape only increase the doubt that darkness and despair will follow marriage, which is confirmed by careful affectation in female films.” It can be said that the integration of binary opposition in Hollywood song and dance films does seem frivolous and flattering, but this type of film has been produced and consumed in large quantities since the 1930s, and is still prosperous, which shows that it draws on the eternal classic artistic charm of the myth model.

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