Which movie musicals could Spielberg have done? — Page 2

I really hate that he chose WSS, though it is very much in his post-'80's wheel box. It isn't just that I think the original version was great and didn't need a remake. It was just so like Spielberg that, if he was going to do a musical at this point in his career, he wasn't going to do something light and fun and frivolous. It would have to be a "big" "important" movie on a "big" "important" theme by "big" "important" writers. He even brought in a newer big, important writer to do the screenplay. His musical would have to "measure up" to things like Schinder's List and Munich. But why?

Have you actually watched the movie? Because if you have, it pretty much answers all your questions as to why it was made the way it was.

Ragtime, South Pacific, 1776, Parade, City of Angels, Grand Hotel, Sunday in the Park, Fiddler (I know Tommy Kail is directing Fiddler for MGM)

Cabaret would be interesting if he stayed more true to the stage production, focusing on the Schultz/Schneider storyline. But the Fosse musical numbers are just so iconic.

I love all "Once upon a time" European-set Cinderella stories, so I am biased, but I would love if Spielberg did probably one of the most unlikely musicals he'd ever do and did the first theatrical version of Rodgers and Hammerstein's Cinderella. I'd be fine if it was also colorblind like the 1997 one as long as it was still set in a European fairy tale land.

Cats should be done as a film.

KevinKlawitter said: "The thing about Ragtime is it might be better suited for a Black filmmaker - maybe someone like Reinaldo Marcus Green, David E. Talbert, or even Robert Townsend."

Barry Jenkins.

I agree it probably should have a Black filmmaker (or if Spielberg were to direct it, the screenplay should be adapted by a Black writer)

He would've been the right one to adapt Disney's Beauty and the Beast to live action as a really thrilling musical movie.

He would've kept it from being soulless and kept the fun and upbeat well paced whimsy of the animated film as well as the heart.

The one that Disney made just felt so "dark" and TRYING to be more mature and it just sucked all the bouncy magic of the original.

Hands down I think they should lock him in for Miss Saigon. I think he’d also have done a great Les mis or phantom. a little night music (maybe this could be the way to get Julie Andrews and cate Blanchett in now without Rudin).
I wonder how he would fair doing a more contemporary musical like Next to Normal.

Next to Normal needs a director and script adapter from the A24 stable: if there’s ever been an A24 musical, it’s that.

rattleNwoolypenguin said: "BwayLB said: "MagicalMusical said: "I love all "Once upon a time" European-set Cinderella stories, so I am biased, but I would love if Spielberg did probably one of the most unlikely musicals he'd ever do and did the first theatrical version of Rodgers and Hammerstein's Cinderella. I'd be fine if it was also colorblind like the 1997 one as long as it was still set in a European fairy tale land."

I would love a colorblind cast on the big screen too. As well as adapting Douglas Carter Beane’s script from the 2013 production. I didn’t expect to get a few good laughs out of it.

Guys. How is it possible you want ANOTHER Cinderella. We have as many Cinderella movies coming out as we do Marvel films now.

Call me in the next seven or eight years

BCfitasafiddle said: "Les Mis.

Although, maybe I just wish it had been anyone else."

I like this idea. While I don't mind the film (I think I'd read so many bad reviews, my expectations were significantly low enough for me to be pleasantly surprised), I think this would have been a very good fit in a lot of ways.

If we have to explain the nuances of black people/minority populations telling their own stories when historically they haven’t done so, then well, that’s on you

joevitus said: "BroadwayNYC2 said: "If we have to explain the nuances of black people/minority populations telling their own stories when historically they haven’t done so, then well, that’s on you"

That you are somehow ignorant of the fact that Ragtime is not exclusively, arguably not even primarily, about Black people and their issues (for which, in real life, there is literally no example of what happens to Coalhouse Walker), or even minority people is entirely on you. Of all the major characters, only two are Black. Wow, you need to take off those blinders. It's a story about Americans of all ethnicities, with as much attention given to the white family of New Rochelle--and plenty of white historical figures--as the developments in their maid Sarah's life It is based on a novel written by a white man--no one has ever claimed his novel failed because he didn't grasp "nuances"--adapted by a white author--no one has ever claimed McNally failed for not grasping "nuances"--and originally directed by a white director--whom no one has ever claimed was unfit for the job due to failure with "nuances". You really didn't grasp the material or know anything about the creative staff, it seems. You saw Black people and you thought "white people can't possibly realize this material effectively." That's some straight up bigotry, in my view. And you think there's some failure on my part. Hilarious."

Gross…

joevitus said: "(for which, in real life, there is literally no example of what happens to Coalhouse Walker)""

Unfortunately, you lost me here man…