I have seen this & the amended version. To me, it doesn't detract from the obvious meaning of the ballet- a deep sexual attraction between a naive heavily smitten boy & a mature, experienced female, albeit one sided romance. It's simply sublime & wonderful to watch. Of course the jazz accompaniment is superb- this goes without saying !!
Gene Kelly and Shirley MacLaine's big dance number in "What a Way to Go!" (1964) clearly pulled elements from this routine - Kelly was apparently quoted as calling it "a kind of gentle spoof of old movie musicals." (en.wikipedia.org/wiki/What_a_Way_to_Go!#cite_note-18) Based on this, I have a suspicion (may actually have read somewhere) that the cut footage from the Broadway Ballet involved a move similar to @2:40-2:45 in the linked clip ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0DZ9qHahZLs.html.
Thanks for posting. It's pity we have only original score, but not the piece of picture :-( We don't know what has been cut out and we never will... Most likely there was a dance movement when Cyd's character wraps her legs around Gene's waist. And although the move is very often seen in ballet it was obviously too much for the movie's censors. The piece got removed, the music got rearranged to match the new cut. We will never find out what has been cut since the original print of SITR was destroyed in a fire.
Well, whatever was in those few seconds of video, I'm glad they used the other version of the music. It was a much better arrangement. This version doesn't even sound like the MGM Orchestra, and if it was a Salinger arrangement, he was having a bad day.Interesting, though.
This was not Connie, it was Skip Martin. And this is anything but a bad day, it's extraordinary. Especially since it probably only took him an hour to tone this down after the censorship issue.
@@ewindels You may well be right that it was Skip. Salinger often has a voice nearly as recognizable as a vocalist's, but this part of the ballet wasn't one of those times. But I still think the arrangement and performance in this clip is really rough compared to what wound up in the movie, which I've listened to probably several hundred times. I'm curious, though, how you know it was Skip.
@@paulderocco4553 When I first became obsessed with this number, I did some research, I no longer remember where, that displayed which orchestrator handled which number. this was Skip, and also big band swing numbers like this we’re not Connie’s forte. I agree that the revised arrangement is a little stronger and cleaner, which also provides a rare example of and orchestrator being able to rethink his original with both versions available.
