Heterosexuality and the Musical: The Couple - Essay Example

? Heterosexuality and the Musical: The Couple Introduction Musicals have essentially been associated with wrong coupling and by extension homosexuality. With the advent of the musical era in Hollywood, several of the musicals featured have seen the appearance of gay couples, for instance in Gay Divorce, where homosexuality is a norm, and opposite sex couples are relatively rare to find. While the musical industry has thrived from its homosocial nature, often depicting homosexuality as a norm within the musical industry of film and cinematography, there are a number of films that steer away from this view and incorporate opposite sex relationships into the script, as well as steering away from plots that are primarily associated with same sex relations within films (Bullough 1976, p. 67). The ideology of heterosexuality is compounded by the appearance of different roles played by different sexes thereby either dispelling or confirming the question of whether or not roles can be reversed in a heterosexual union. In addition, the interaction between the heterosexual couples provides an intrinsic view of the domain in which the film is set. Top Hat is set a musical comedy set in London, where Jerry, an American dancer goes to attend a show organized by Horace Hardwick. While, in his hotel room, Jerry’s tap dancing awakes Dale, who was trying to get some sleep in her room, beneath Jerry’s. A confrontation between Jerry and Dale ensues, during which Jerry falls in love with the fashion model, Dale (Reid 2004, p. 13). Jerry later tries to woe Dale and eventually wins her affections, which forms the basis of the film. The film delves into the intricacies of heterosexual relationships, seeking to confirm or dispel notions of gender based roles with the film industry and society as a whole. While heterosexual relationships are predominantly shaped by the couple itself, the process of coupling, as well as the affiliation between the couple is influenced by outside sources such as societal norms and persons outside the relationship. The societal view towards people’s attractiveness plays into the play through several of its actors and actresses. Because coupling is not only based on the desires of an individual, but requires the approval and acceptance of the potential partner, the art of coupling are reduced to one where seduction, prolonged courtship and regular meetings. The interested party follows and seeks the companionship of the potential partner and tries to owe the latter with all manner of techniques (Brown 1995, p. 126). The concept of music and dance is incorporated into the script, shifting the audience’s perception of certain dance routines as being typically belonging to the homosexual community. Dance and song are exemplified as being key in the development of heterosexual relationships. In the early 20th century as in the modern times, music and dance form the backdrop of romantic moments, pushing couples together through in sync body movements (Reid 2004, p. 23). Heterosexuality over Homosexuality The plot of Top Hat begins with a series of wholly male-played parts. This quips at the homosexuality in musicals and is exemplified by the males in this part not being interested in women, but rather in haberdashery. Before the film progresses any further, the audience is likely to believe that the film is centered on homosexuality and not heterosexuality. By watching and listening to the men in this initial segment of the musical, we see a manifestation of the male tendencies to obsess over such trivialities as haberdashery and become engrossed in such behavior as collective dance. These men’s disinterest in women is somewhat a depiction of homosexuality and their disregard for the opposite sex unions. However, the notion of the film being a description of the homosexuality tendencies in the society are dispelled by the entrance of the key actors who are paired on the basis of the opposite sex. The act of sex is not symbolized as critical to the existence of heterosexual relationships; during the entire course of the film, the actors and actresses barely engage in sex, but are still considered being in heterosexual relationships. However, certain movements and dance moves are symbolic of the act of sex without it occurring in actual sense (Eldridge 2008, p. 98). The movements embedded in the majority of the dance routines are erotic and sensual, showing the sexual desires between male and females in a relationship. The romance between the main actor, Jerry and leading actress, Dale, is sparked by their mutual love for music and dance and compounded Jerry’s adamancy in pursuing Dale. The story of their love develops through complex situations such as when Dale wrongfully marries Alberto with the view of ending Jerry’s courtship. Moreover, they are able to move past Dale’s previous mistake in believing that Jerry was her friend’s husband. We note that adversities are bound to occur within heterosexual relationships, but through perseverance and strong will, the partners can triumph in their love on the long run. In choosing to promote heterosexuality as its main theme, the film portrays the male kind as the leader in a relationship rather than the role of a follower, which is predominant in homosexual relationships where either male becomes the girlfriend or wife. Due to the association of some musical films with homosexuality, Top Hat’s association with the promotion of heterosexuality as a way of life is like a breath of fresh air. Sandrich, a heterosexual himself gives a glimpse into the different lifestyle associated with the opposite sex relationships as compared to same sex unions. The director sought to convey the message that the opposite sex coupling system was the best when it came to coupling. Moreover, the director’s choice of using both actors and actresses in the music ballads speaks to his desire of promoting heterosexuality and dismissing same sex relationships. However, the early scenes where only men were seen appearing disinterested in women is a stark portrayal of the differences between heterosexuality and homosexuality (Henry 1941, p. 26). Heterosexuality, as a sexual orientation, is the most prevalent across the globe. However, with changes in people’s lifestyle comes a change towards a sexual orientation where same sex relationships are considered right. While there is in essence nothing wrong in choosing one’s desired sexual partner, homosexuality is viewed as taboo, with some societies outlawing its practice and shunning members that practice it (Katz 1995, p. 53). The entertainment arena has been characterized as one where all sorts of vices are given a nod; here, homosexuality is considered normal and in some instance even applauded. Top Hat does not speak much of the culture of homosexuality as it does heterosexuality, but there is a brief instance when the audience gets the impression of the playwright and producer’s disdain towards homosexuality. In not wanting to appear homophobic, both the playwright and the producer agree on the use of an all male scene to epitomize homosexuality, thereby not putting off homosexual members of the audience. However, their stance on sexual orientation is clear through their work of art, begging the question whether the entertainment industry can be either entirely inclined towards homosexuality of heterosexuality. Love in the early 1930s was predominantly heterosexual in nature, choosing to uphold the integrity of the opposite sex relationships rather than that of the same sex unions. Mistaken Identity In Top Hat, Heterosexuality is exemplified through the main actors’, Dale and Jerry’s relationship. Although Sandrich borrows the aspect of mistaken identity from previous films of that time, the role of the theme in the context of Top Hat cannot be downplayed. Mistaken identity in the film, which occurs when Dale mistakenly perceives Jerry as her friend Madge’s husband, Horace. Dale is appalled by Jerry’s desires towards her, which she considers a betrayal towards Madge. This brings to light yet another heterosexual couple, which is Madge and Horace, who have been married for some time. Although Horace is not unfaithful to his marriage, infidelity portrayed as a vice that is prevalent in heterosexual unions. Infidelity is considered more common in the opposite sex unions than it is in same sex ones. Because of Dale’s disdain towards Jerry, she ends up marrying Alberto, the stylish designer. However, the marriage is a farce because it was presided over by Bates, one of Horace’s valets (Reid 2004, p. 75). The marriage is nullified after jerry clears up the misunderstanding in his identity and he and Dale are reunited. The aspect of mistaken identity also play in to Madge’s marriage to Horace were the former suspects her husband to be cheating on het with another woman. Horace is disheartened by the fact that his wife views him with such suspicion. When considering heterosexual marriages, we can never overrule the aspect of trust or the lack of it. Mistakenly thinking that one of the partners is unfaithful is essentially the beginning of problems in heterosexual relationships. Trust is a key component in these relationships, and the lack of it is often a portrayal of deeper problems such as low self confidence in the suspicious party of mistrust towards one another. Choreography and Music Sandrich uses the concept of music and choreography to further exemplify the theme of heterosexuality in the film. The film embodies a number of music numbers and well choreographed scenes to showcase the union of the opposite sex persons and compel the audience’s view of heterosexuality as the right system of coupling. Embodied in the film’s choreography are the styles of imitation, where dance partners tend to mimic each other’s dance moves before joining in a synchronized routine that has them moving together to the music beat. Touching is yet another style incorporated into dance routines in Top Hat. For instance, Dale and Jerry dance to Berlin’s number, Cheek to Cheek (Green, B. 1989, p. 171) which surfaces from Dale’s mid-sentence in a dialogue. The dance is performed on a crowded dance floor housing other, opposite sex couple dancers. According to Berlin, the song writer, Dale’s performance of the song was nothing short of extraordinary. The song, Cheek by Cheek, whose melody goes higher and higher with each passing minute, was initially performed as a solo by Dale, working tirelessly to seduce Jerry. Dale’s dancing intrigues Jerry, who moves through the crowded dance floor to where Dale was standing and together the dance towards an abandoned ballroom, where they dance cheek to cheek. The attraction between the couple during the dance brings forth a deeper understanding of the essence of music in relationships. Although finding themselves in a tough, emotional position owing to Dale’s marriage to Alberto, Jerry and Dale dance passionately and seemingly forget their inhibitions. The couple dance to Isn’t This a Lovely Day? During which their love towards each other is exemplified through their moves and glances. However, Rogers is guilt ridden because of falling for a married woman and does his best to dismiss Dale’s advances and try to fall out of love with her, which proves futile. Dale is hence becomes more adamant in her quest to have Jerry by her side and continues with her seductive dance aimed at keeping Jerry’s attention on her (Carson, 1999 p.21). Seduction forms the focal point of the dance routines, which are impeccably choreographed. The film embodies seductive choreography through dance in the form of a supported back bend. In the course of their dance routines, Dale explores Rogers’ flexible back with the palm of her hand. This erotic dance moves compels the audience to witness the deep bond between the two persons of the opposite sex. Erotic choreography, a symbol of heterosexuality in the film, is depicted through the main dance routines of the film. While dancing to Isn’t This a Lovely Day? the couple leans and spins next to each other eluding one another as they go hind and forth in a playful manner. The couple finally falls into the conventional ballroom dance positions where Dale spins past Jerry, before he collects her; this is where we first see the back bend and Dale’s erotic massaging of Jerry’s back. The couple locks hands and Jerry takes Dale into his arms, encircling her in an embrace. The dance routine can be considered a symbol of the couple’s desires to consummate their union through love making. When the melody goes up, the couple is joined on stage by other pairs of the opposite sex partners, moving against the flow of the music before simultaneously falling into a choreographed back bend before repeating the routine, several times. Tender partnering of the opposite sex couples is subsequently witnessed when the music moves from the fast pace seen previously to one where all dancing couples closely and more intimately (Snoman  2008, p. 86). The routine climaxes when Jerry and Dale running towards the camera and engaging in dramatic dance moves before ending in the deepest back bend witnessed so far. Jerry passionately sings The Piccolino, written by Berlin, to Dale while enjoying a ride on a gondola (Mueller 1986, p. 80). While riding in the gondola, a group of dancers (paired as opposite sex couples) performs dance routines using choreographed ballroom movements formulated by choreographer, Hermes Pan. Upon realizing that Dale’s marriage to Alberto is a fake, Dale and Jerry engage in a long, passionate dance deep into the sunset. Dance personifies the connection and intimacy in couples and brings out a sense of togetherness and synchrony in dance partners. By using dance, music and choreography, Top Hat exemplifies the intimacy witnessed between opposite sex partners and their devotion to each other. Erotic dance moves signify the spark of sexual desire that is instrumental in deeper intimacy and greater showcase of love between heterosexual couples. In the film, tap dance is used mainly for its noise making attribute (HB 2011, p.19). Jerry’s affliction to break down into a tap dance, as Dale had previously put it, is reminiscent of his boldness in making his position known to others. His boldness, signified by his use of loud dancing moves, is exemplified in his outright declarations of love towards Dale. Jerry’s boldness in dance can be viewed as a symbol of his machismo and his dominance in a relationship (HB 2011, p. 53). When Dale and Jerry initially met, after Jerry woke Dale up from his tap dancing, back in the room Jerry displayed his desire to have a heterosexual relationship with Dale through a monologue and his subsequent dance routine where he shifted from his earlier tap dancing to a routine that had him moving his arms about as if he were holding a woman (Dale) in his arms. Although Dale acted disinterested around Jerry, the latter’s dance moves served to ignite her desire towards him and compel her towards showing her attraction towards Jerry through dance. Gender Roles The intricacies of heterosexual relationships play into the dance scenes as after the dance Jerry is rudely reminded that his relationship with Dale cannot progress any further. Dale exemplifies the complexities posed in heterosexual unions such as the one she shares with Jerry. In the film, the man is usually the leader in a dance routine, with the lady following his movements and moving around him. This is significant of the roles played by the two sexes in heterosexual relationships where the man is the leader, and the lady follows suit. The balance of power is, however, toppled when a lady seeks equality and maintains her independence from her male counterpart. This begs the question, who actually takes the leadership role in a heterosexual relationship? When sudden rain cuts short one of Dale’s early morning horserides, she quickly rushes to a nearby structure for shelter. Jerry attempts to rescue the damsel in distress, but Dale strongly objects. The film shows a different side to heterosexual romances from the traditional knight in shining armor rescuing the distressed princess before they fall in love and live happily ever after. Top Hat conveys courtship in a modern situation where a lady is independent and does not fall in love with a man from his sheer showcase of machismo, but rather develops an attraction to the man over time. Dale does not drool at Jerry; even when they dance, she maintains her composure and does little to show her true feelings of attraction to Jerry. Set during the Depression era, the film seeks to portray equality of sexes as beneficial rather than dangerous as previously presumes. Before this era, women’s roles were confined to child bearing, household chores and obedience to the husband. However, Top Hat shows the changes in roles for both sexes. It is agreeable for women to become leaders and make their own choices, both in the man they choose as a partner and their career. Although female actresses were relatively many during the 1930s, Dale brought out a new view towards equality in the work place, as well as in a relationship (Reid 2004, p. 92). Jerry and Dale’s heterosexual relationship projects an image of equality based on compassion, as well as solidarity in the work place. This equality is projected through more incorporation of women into working class roles and a shift from the traditionally apportioned gender roles. During the Great Depression of the early 1930s, lifestyle changes and a shift towards industrialization developed. Many feared that the changes would affect the societal values or virtues of the society (Butler 1990, p. 16). Fears that a shift towards homosexuality were in the offing were quite prevalent. Therefore, Top Hat’s depictions of heterosexual relationships as the right type of coupling gave the needed reprieve to those in fear of the aforementioned changes. People’s lack of inhibitions in their actions during the late 1920s had also served to fuel the fears that the society was at danger of seeing more and more homosexuality both in film and real life. Economic hardship served a significant role in bringing about equality among sexes. The tough economic situation that had engulfed the nation left many families in need for additional income to supplement the husband’s earnings. Top Hat is once more symbolic of the changes in heterosexual unions, which saw more women join the working class. The film features many female actresses and uphold the culture of equality at work. The concept of independent women threatened the fabric of ancient gender roles. In Top Hat, women are portrayed as opportunistic, outspoken yet classy. The longstanding mindset that assured men of getting women’s attention by displaying their dominance over them is dispelled by the film’s star actress, Dale, who wittingly pushes Jerry away and acts disinterested until she chooses the most opportune moment to declare her feelings towards him (Reid 2004, p. 26). Women are empowered to make choices regarding their partners and shun vices that have traditionally been associated with their kind. For instance, it was generally believed that women were home wreckers, often disregarding a man’s family when pursuing their desires. For instance, when Dale mistook Jerry for Horace, her friend’s husband, she did not want anything to do with him, and during one instance she actually slapped Jerry for trying to kiss her. The view towards women as wreckers of other women’s home is thereby proven erroneous. Within the film, the changes in gender roles are, however, masked by the differentiation of the sexes by showcasing feminism and masculinity, especially in the dance routines. While in most part Top Hat attempts to dispel traditional gender roles, some of its actors such as Alberto continue to showcase ancient mindsets that objectify women within heterosexual relationships. According to Alberto, “for the woman the kiss, for the man the sword” (Reid 2004, p. 46). In essence, Alberto considers women as the possession of men, requiring constant care and vigilance. Alberto asks one of his valets, Bates to spy on Dale and report back to him if any man tries to woe Dale. Jealousy in heterosexual relations stems from lack of trust and mutual respect for personal space. Jealousy drives couples to do absurd things such as follow each other around and denies persons the freedom to relate to other people outside the relationship. In Alberto’s case, his jealousy proved to be his downfall as his trusted spy, Bates, ended up misrepresenting himself as a priest before performing the marriage ceremony between Alberto and Dale. Heterosexuality is depicted in a different light when we consider Madge’s suffering in her relationship with her husband, Horace. The view of heterosexuality as an avenue for bliss and marital gratification is doubtful when we consider the hardships within opposite sex marriages, such as Madge’s. When considering the complexity of such unions, we have to consider two approaches; one approach is to view the woman as the injured party and the man as the executor of suffering or the woman as the perpetrator and the man as a victim. In most instances, it is commonly assumed that the former version of the story is true; however, it is paramount to shift our mindset to one that views either party as being perpetrators and victims. Looking at heterosexual relationships without bias provides us a clearer understanding that such relationships are sometimes tainted by suffering, which may be intentional or not intentional (Barbara 1991, p. 46). Considering Madge’s suffering in her marriage, her suffering emanates from her suspicions of her husband’s infidelity, which are proved by Dale’s assumption that Horace is courting her. However, these suspicions are false, giving the impression of lack of trust within Madge’s marriage, especially in Madge towards her husband. Partnership between a couple, in which neither party feels oppressed or downplayed, is critical in the attainment of a solid heterosexual relationship. Traditional tendencies to view women as the weaker sex should be dispelled; it is paramount that men adopt the ideology that women are their equals, which will, in turn, encourage women to consider taking on some roles that men do not, generally, like. Encouraging a culture of equality among the sexes is at the forefront in ensuring neither sex feels inferior or superior to the other (Reid 2004, p. 74). Gender Norms in Heterosexual Relationships Society has placed a benchmark for consideration of the opposite sex partners based on gender norms that have been in existence for many centuries. The societal pressures imparted on persons when choosing partners compel individuals to choose partners who they think are agreeable to the society (Johnson 2005, p. 89). For instance, it is traditionally accepted that the man in a heterosexual relationship should have a strong physique that comprises his height, build and weight. In addition, a man desirable man is typically one who has a deep voice and right hair color. In terms of social standing, the norm when choosing a male companion employs a number of differential points such as right, social position, race and age differentials. In women, on the other hand, desirability comes from similar differentials on the basis of social standing, race, age and class. However, in terms of physique, women, especially in the 19th Century were considered attractive on account of their petite and curvaceous physiques. The more petite and curvy a woman was, the more she was deemed attractive to be. In Top Hat, these social norms played into the structure of heterosexual relationships such as the ones between Dale and Jerry. Dale, a rather petite, but curvaceous woman, appeared to attract to most men due to her figure. Jerry, on the other hand, appealed to Dale owing to his height and general physique. It is safe to assume that had Dale been short and chubby or if Jerry was short and stout, then the couple would not have dazzled the audience as they did in their current state (Reid 2004, p. 69). However, coupling based on societal norms for attractiveness are dispel able through Madge, who is relatively chubby but still attractive. Notably the effect of social norms also impacts the way people view themselves. For instance, Madge’s suspicions towards her husband are predominantly as a result of her insecurities with her body and the mindset that petite is, in fact, attractive, hence because her husband is constantly bombarded with petite women during his work, then he must no longer be attracted to her (Madge). Emotions in Heterosexual Relationships The film showcases a series of emotions that are perceived in heterosexual relationships. Firstly, in the film, emotional detachment is observed in women who use it as a shield themselves against the threat of heartache posed by relationships. Dale exercises caution when dealing with Jerry by maintaining an emotional wall around herself with a view to prevent Jerry from hurting her like her friend’s husband was hurting Madge. Another emotion that surfaces through the film is jealousy and hatred. This is viewed mainly in the male characters, such as Alberto and Dale, who seek Dale’s attention and love. While still courting Dale, Alberto employs the services of Bate to follow Dale around and report her actions back and those of men who tried wooing her. Alberto’s jealousy is so intense that he is willing to physically fight off any man who takes an interest in Dale. Jerry, on the other hand, is jealous of the union between Dale and Alberto after the duo gets married. Jerry is unwilling to accept that he has lost Dale to Alberto and finds a way of nullifying the marriage and take Dale back. Madge’s jealous tendencies are so profound that she doubts her husband’s fidelity, based on unproven ideas. Bliss and gratification are yet another set of emotions that are associated with heterosexual relationships. This is mainly observed when both parties are content with their partners’ behavior, appearance and feelings towards them. Dale and Jerry (Reid 2004, p. 61 ) experience short lived happiness during their visit to Venice when they are together, and let go of their misgivings of Dale’s marriage to Alberto. However, once reality of Dale’s marriage dawns upon them once more, their happiness turns to guilt, especially on Jerry’s part. However, mutual bliss for the duo is achieved when Dale’s marriage is proven null and void, resulting in jubilation between the couple who can be together at last. In her marriage to Horace, Madge goes through heartbreak from thinking that her husband is cheating on her. But when her fears are dismissed as untrue, she experiences happiness at her husband’s side. Conclusion Top Hat is the epitome of heterosexuality in the musical films industry, with the coupling of its cast based on opposite sex orientations. The film, though released at a time when moral decadence through homosexuality was slowly beginning to take center stage, it brings the audience back to the view that opposite sex coupling is indeed the right system of coupling (Deacy 2005, p. 53). In addition, the film utilizes a number of devises to exemplify the theme of heterosexualism and disaccord towards homosexuality. Some of the devices used in the film include dance through opposite sex pairing, choreography that embodies portrayal of the attraction of persons of the opposite sex, music, speaking to the union of male and female, and sometimes sang romantically by a person of the opposite sex towards the partner. Song and dance provide a theatrical depiction of the process of courtship witnessed in heterosexual relationships (Blom and Chaplin, 1992, p.46). In the film, Jerry woes Dales using his dance moves as well as well sang musical ballads that pull down Dale’s inhibitions towards a relationship with Jerry. In the film, heterosexual relationships are represented as ones that are not free from suffering and hardship. Madge’s marriage to Horace is marred with problems, but through dialogue, they manage to resolve their issues, as they are seen dancing together towards the end of the film. We, however, note that will sexual orientation is one’s choice; a person’s choice in a partner is dictated by forces other than the person’s wants or desires. For instance, by choosing to uphold her image and friendship with Madge, Dale willingly let go of her emotions of attraction towards Jerry and married Alberto (Reid 2004, p. 101). Societal virtues such as not getting romantically involved with a married man held Dale down in her endeavors to find a suitable partner. Moreover, when choosing a partner, norms that dictate the attributes considered attractive in an individual also dictate one’s choices. The norms dictate that attractiveness is pegged on certain aspects, which form the yardstick in most coupling. Heterosexuality is also associated with differential roles for each gender represented in the relationship. While in previous times women were confined to set standards of either household duties or child rearing ones, nowadays women have formed a vital organ of the work place, playing key roles in sectors such as the film industry (Susan, Chunn and Lessard 2007, p, 83). Dale is a chief example of women who seek to shift from their traditionally assigned roles; especially in heterosexual relationships were they were previously seen as unable to save themselves from distressing situations. Men are portrayed as macho and persons seeking the admiration of their female counterparts through acts of bravery such as rescuing the latter from trouble of fighting for the affection of women. Alberto’s comment about women being kissable only while men should be fought is a clear illustration of male machismo with a view to impressing women. While this trait is sometimes applauded, in some instances male machismo is viewed as a portrayal of their need for dominance, which women are skeptical towards for fear of being held under the man’s domineering hand (Mansfield 2008, p. 39). While the story’s beginning is pegged on portraying homosexuality in society, the succeeding story shows the intricacies of heterosexual relationship and their players and the roles they play in either developing the relationship or dismantling it. The film endeavors to shift from the objectification of women by providing them with a voice to air their views and an avenue to showcase their strengths (Deustch 2007, p. 123). The regard towards women as the weaker sex is dismantled and replaced with one in which their independence is applauded and appreciated. Emotional vulnerability is an integral part in heterosexual unions, often marked by trusting one’s partner to maintain integrity when it comes to fidelity and caring. If either of these two crucial components is lacking, the relationship is bound to experience turmoil, which could lead to breakups. Heterosexuality is hence a process for achieving happiness rather than the end, which ensures bliss. References American Psychiatric Association (APA) 2000,  Lesbian, Gay and sexual Issues. Association of Gay and Lesbian Psychiatrics. Barbara, JB 1991, Coupling--: what makes permanence? NY: Routledge. Blom, LA & Chaplin, LT 1992, The Intimate Act of Choreography. US: University of Pittsburgh Press.   Brown, G 1995, Movie Time: A Chronology of Hollywood and the Movie Industry from its Beginnings to the Present. New York: MacMillan. Bullough, VL 1976, Sexual Variance in Society and History. Chicago: Univ. of Chicago Press. Butler, J 1990, Gender trouble: Feminism and the subversion of identity. New York: Routledge. 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