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Ragtime
- 349 statements
- 68 feature instances
- 21 referencing feature instances
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Ragtime is a 1975 historical fiction novel by E. L. Doctorow. It takes place in and around New York City between 1900 and 1917, and follows three fictional American families whose lives intersect with those of various major historical figures from the time, such as Evelyn Nesbit, Harry Houdini, Emma Goldman, Booker T. Washington, Henry Ford and J.P. Morgan. The three families are: an upper-class WASP family from New Rochelle, consisting of a grandfather, a father, a mother, their son, and the mother's younger brother; a talented young black pianist Coalhouse Walker Jr., his girlfriend Sarah, and their son; and a Jewish Eastern European immigrant and his young daughter. It is written with a ridiculous amount of detail, approaching Tolkienesque levels.In 1981 it was adapted into a film version, written by Michael Weller and Bo Goldman and directed by Miloš Forman. The film, which starred James Cagney, Howard E. Rollins Jr., Brad Dourif, Elizabeth McGovern, Mandy Patinkin, and Mary Steenburgen (among others), was nominated for eight Academy Awards.It was further adapted into a musical with a book by Terrence McNally, lyrics by Lynn Ahrens and music by Stephen Flaherty. The original cast included Brian Stokes Mitchell, Audra McDonald and Marin Mazzie. It was nominated for twelve Tony awards, and won four: Best Featured Actress (McDonald), Original Score, Book, and Orchestrations. A revival of the musical opened on Broadway on November 15, 2009 after transferring from a successful regional production located in the John F. Kennedy Center for the Performing Arts. It closed January 15, 2010. | |
Ragtime | fetched |
2023-09-27T05:15:23Z | |
Ragtime | parsed |
2023-09-27T05:15:23Z | |
Ragtime | processingComment |
Dropped link to HistoricalDomainCharacter: Not a Feature - IGNORE | |
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DBTropes | |
Ragtime / int_1237828f | type |
Anyone Can Die | |
Ragtime / int_1237828f | comment |
Anyone Can Die: Sarah, Coalhouse, Father, and Grandfather. Also Younger Brother in the novel. However, Father and Grandfather's deaths are only mentioned in the epilogue. | |
Ragtime / int_1237828f | featureApplicability |
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Ragtime | hasFeature |
Ragtime / int_1237828f | |
Ragtime / int_1282bf4f | type |
No Celebrities Were Harmed | |
Ragtime / int_1282bf4f | comment |
No Celebrities Were Harmed: Averted; the book features numerous public figures from the 1920s and is not shy about putting them in compromising positions. | |
Ragtime / int_1282bf4f | featureApplicability |
-1.0 | |
Ragtime / int_1282bf4f | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_1282bf4f | |
Ragtime / int_1439161f | type |
Heroic BSoD | |
Ragtime / int_1439161f | comment |
Heroic BSoD / BSoD Song: "Coalhouse's Soliloquy". | |
Ragtime / int_1439161f | featureApplicability |
1.0 | |
Ragtime / int_1439161f | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_1439161f | |
Ragtime / int_1a3a91dd | type |
Say My Name | |
Ragtime / int_1a3a91dd | comment |
Say My Name: Done by Father to Edgar in the musical during "What a Game", when the latter won't stop repeating the vulgar (for the time) language of the other baseball fans. | |
Ragtime / int_1a3a91dd | featureApplicability |
1.0 | |
Ragtime / int_1a3a91dd | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_1a3a91dd | |
Ragtime / int_1d8733d3 | type |
Overly Narrow Superlative | |
Ragtime / int_1d8733d3 | comment |
Overly Narrow Superlative: "And although the newspapers called the shooting the Crime of the Century, Goldman knew it was only 1906... and there were ninety-four years to go!" | |
Ragtime / int_1d8733d3 | featureApplicability |
1.0 | |
Ragtime / int_1d8733d3 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_1d8733d3 | |
Ragtime / int_20f689e9 | type |
Adaptational Villainy | |
Ragtime / int_20f689e9 | comment |
Adaptational Villainy: In the book (and held true in the musical), Coalhouse genuinely means it when he says he's going to surrender once his men are safely away, and follows through. In the film, the promise is just a ploy to get his men out and his real plan is to blow the library up once the others are clear, and it's only at the last second that he can't bring himself to go through with it. While neither villain nor hero in either case, Evelyn Nesbit is treated much more kindly by the book (where she helps Tateh's daughter and talks to Emma Goldman about how men have dominated her life) than in the musical, where she exists only to serve as a bad example of a shallow woman gleeful at the chaos around her. | |
Ragtime / int_20f689e9 | featureApplicability |
1.0 | |
Ragtime / int_20f689e9 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_20f689e9 | |
Ragtime / int_27ab0123 | type |
Offing the Offspring | |
Ragtime / int_27ab0123 | comment |
Offing the Offspring: Sarah attempts to kill her baby by burying it after Coalhouse abandoned her. | |
Ragtime / int_27ab0123 | featureApplicability |
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Ragtime / int_27ab0123 | featureConfidence |
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Ragtime | hasFeature |
Ragtime / int_27ab0123 | |
Ragtime / int_294ed981 | type |
Bilingual Bonus | |
Ragtime / int_294ed981 | comment |
Bilingual Bonus: Or Quadralingual. "A Shtetl is Amerike" has three separate parts, being sung at the same time. The languages are Yiddish, Italian, and Creole. | |
Ragtime / int_294ed981 | featureApplicability |
1.0 | |
Ragtime / int_294ed981 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_294ed981 | |
Ragtime / int_29b218b4 | type |
In the Past, Everyone Will Be Famous | |
Ragtime / int_29b218b4 | comment |
In the Past, Everyone Will Be Famous | |
Ragtime / int_29b218b4 | featureApplicability |
1.0 | |
Ragtime / int_29b218b4 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_29b218b4 | |
Ragtime / int_2d4fa515 | type |
Ax-Crazy | |
Ragtime / int_2d4fa515 | comment |
Ax-Crazy: Coalhouse after Sarah's death. | |
Ragtime / int_2d4fa515 | featureApplicability |
1.0 | |
Ragtime / int_2d4fa515 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_2d4fa515 | |
Ragtime / int_2e8875f0 | type |
Misplaced Retribution | |
Ragtime / int_2e8875f0 | comment |
Misplaced Retribution: Coalhouse focuses his Roaring Rampage of Revenge on Willie Conklin and the fire department, blaming them for Sarah's death, while completely disregarding the cops who actually killed her. | |
Ragtime / int_2e8875f0 | featureApplicability |
1.0 | |
Ragtime / int_2e8875f0 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_2e8875f0 | |
Ragtime / int_3036294e | type |
Scary Black Man | |
Ragtime / int_3036294e | comment |
Scary Black Man: Quite literally, as the Coalhouses are black terrorists. | |
Ragtime / int_3036294e | featureApplicability |
1.0 | |
Ragtime / int_3036294e | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_3036294e | |
Ragtime / int_33d5b7f2 | type |
Adapted Out | |
Ragtime / int_33d5b7f2 | comment |
Adapted Out: Emma Goldman doesn't appear in the film. | |
Ragtime / int_33d5b7f2 | featureApplicability |
1.0 | |
Ragtime / int_33d5b7f2 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_33d5b7f2 | |
Ragtime / int_3eb8ba12 | type |
Description Porn | |
Ragtime / int_3eb8ba12 | comment |
Description Porn: The book is ridiculously detailed. | |
Ragtime / int_3eb8ba12 | featureApplicability |
1.0 | |
Ragtime / int_3eb8ba12 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_3eb8ba12 | |
Ragtime / int_3ed17fe0 | type |
Wide-Eyed Idealist | |
Ragtime / int_3ed17fe0 | comment |
Wide-Eyed Idealist: Younger Brother during the first half of book. | |
Ragtime / int_3ed17fe0 | featureApplicability |
1.0 | |
Ragtime / int_3ed17fe0 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_3ed17fe0 | |
Ragtime / int_40cc0c7e | type |
Bittersweet Ending | |
Ragtime / int_40cc0c7e | comment |
Bittersweet Ending: Coalhouse and Sarah are dead, with none of the injustices that led to their fates being avenged. Father and Grandfather both die later on. Despite all the pain in the show, it will be several decades before any semblance of hope for racial harmony will arrive. However, Younger Brother continues being a revolutionary, Tateh and Mother marry and form a happy family with themselves, their children, and Coalhouse's son, and it's implied that Coalhouse and Sarah are watching their son grow up together from the afterlife. | |
Ragtime / int_40cc0c7e | featureApplicability |
1.0 | |
Ragtime / int_40cc0c7e | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_40cc0c7e | |
Ragtime / int_47b6a1e5 | type |
"Just Joking" Justification | |
Ragtime / int_47b6a1e5 | comment |
"Just Joking" Justification: Willie Conklin claims that the incident of him and his team trashing Coalhouse's car was just a joke, even accusing Coalhouse himself for lacking a sense of humor. | |
Ragtime / int_47b6a1e5 | featureApplicability |
1.0 | |
Ragtime / int_47b6a1e5 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_47b6a1e5 | |
Ragtime / int_48c99e19 | type |
Death by Adaptation | |
Ragtime / int_48c99e19 | comment |
Death by Adaptation: Tateh's wife is dead before the musical starts. | |
Ragtime / int_48c99e19 | featureApplicability |
1.0 | |
Ragtime / int_48c99e19 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_48c99e19 | |
Ragtime / int_4b8932a4 | type |
Stalking Is Love | |
Ragtime / int_4b8932a4 | comment |
Stalking Is Love: Evelyn and Younger Brother become a couple after she discovers he's been stalking her. In the musical, though, she rewards him with a kiss and then brushes him off as too poor for her. | |
Ragtime / int_4b8932a4 | featureApplicability |
1.0 | |
Ragtime / int_4b8932a4 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_4b8932a4 | |
Ragtime / int_4e7c4536 | type |
Wham Line | |
Ragtime / int_4e7c4536 | comment |
Wham Line: During "He Wanted To Say" in the musical: | |
Ragtime / int_4e7c4536 | featureApplicability |
1.0 | |
Ragtime / int_4e7c4536 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_4e7c4536 | |
Ragtime / int_52989fee | type |
Narrator | |
Ragtime / int_52989fee | comment |
Narrator: At different times in The Musical everyone behaves as if they were a third-person narrator. | |
Ragtime / int_52989fee | featureApplicability |
1.0 | |
Ragtime / int_52989fee | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_52989fee | |
Ragtime / int_52c0c7cf | type |
Motive Decay | |
Ragtime / int_52c0c7cf | comment |
Motive Decay: Coalhouse goes from seeking reparations for his car to terrorizing the city of New York as revenge for Sarah's death. Lampshaded in the narration, where Booker T. Washington explains that Coalhouse choosing a target so wholly unconnected with his stated grievances was regarded as proof of his insanity. | |
Ragtime / int_52c0c7cf | featureApplicability |
1.0 | |
Ragtime / int_52c0c7cf | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_52c0c7cf | |
Ragtime / int_53224e46 | type |
Bookends | |
Ragtime / int_53224e46 | comment |
Bookends: The prologue/epilogue. | |
Ragtime / int_53224e46 | featureApplicability |
1.0 | |
Ragtime / int_53224e46 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_53224e46 | |
Ragtime / int_603f1a80 | type |
Pragmatic Adaptation | |
Ragtime / int_603f1a80 | comment |
Pragmatic Adaptation: The musical gives the Little Boy a name (Edgar) for the sole reason that the playwrights found it too difficult to write around the lack of one. | |
Ragtime / int_603f1a80 | featureApplicability |
1.0 | |
Ragtime / int_603f1a80 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_603f1a80 | |
Ragtime / int_6836fbcb | type |
All Musicals Are Adaptations | |
Ragtime / int_6836fbcb | comment |
All Musicals Are Adaptations | |
Ragtime / int_6836fbcb | featureApplicability |
1.0 | |
Ragtime / int_6836fbcb | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_6836fbcb | |
Ragtime / int_6f7c8268 | type |
Waif Prophet | |
Ragtime / int_6f7c8268 | comment |
Waif Prophet: Male variation, with the little boy who sees World War I coming, and keeps trying to tell people Harry Houndini that he needs to save Franz Ferdinand. | |
Ragtime / int_6f7c8268 | featureApplicability |
1.0 | |
Ragtime / int_6f7c8268 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_6f7c8268 | |
Ragtime / int_714741cc | type |
Like Reality, Unless Noted | |
Ragtime / int_714741cc | comment |
Like Reality, Unless Noted: Everything in the book is amazingly realistic to the time period, except for the fact that The Little Boy (Edgar) is somehow psychic. | |
Ragtime / int_714741cc | featureApplicability |
1.0 | |
Ragtime / int_714741cc | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_714741cc | |
Ragtime / int_71748a39 | type |
Named by the Adaptation | |
Ragtime / int_71748a39 | comment |
Named by the Adaptation: The character known only as the Little Boy in the novel is named Edgar in the musical because the script-writers found it too difficult to write the story without him having a name (they named him after E.L. Doctorow) | |
Ragtime / int_71748a39 | featureApplicability |
1.0 | |
Ragtime / int_71748a39 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_71748a39 | |
Ragtime / int_74149c93 | type |
Epic Rocking | |
Ragtime / int_74149c93 | comment |
Epic Rocking: "Till We Reach That Day", "New Music", "Journey On", "Make Them Hear You", and the reprise of "Wheels of a Dream" in the epilogue. | |
Ragtime / int_74149c93 | featureApplicability |
1.0 | |
Ragtime / int_74149c93 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_74149c93 | |
Ragtime / int_78e8eba5 | type |
"I Am" Song | |
Ragtime / int_78e8eba5 | comment |
"I Am" Song: "Back to Before" straddles the line between this and an "I Am Becoming" Song. "Sarah Brown Eyes" is something of a retroactive one, as it's a flashback to the night Coalhouse and Sarah met, but at the point in the show where it appears, Sarah is already dead. | |
Ragtime / int_78e8eba5 | featureApplicability |
1.0 | |
Ragtime / int_78e8eba5 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_78e8eba5 | |
Ragtime / int_7d89315b | type |
"The Reason You Suck" Speech | |
Ragtime / int_7d89315b | comment |
"The Reason You Suck" Speech: From Younger Brother to Father: "You are a complacent man with no thought of history! You have traveled everywhere and learned nothing! I despise you." | |
Ragtime / int_7d89315b | featureApplicability |
1.0 | |
Ragtime / int_7d89315b | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_7d89315b | |
Ragtime / int_82a64c4b | type |
Adaptational Nice Guy | |
Ragtime / int_82a64c4b | comment |
Adaptational Nice Guy: In the musical, Tateh is a widower deeply mourning the loss of his beloved wife, who died before the family emigrated to America. In the book, his wife is in fact alive and well and came to America with them. The foreman of the factory where all three work gives her extra shifts in exchange for sex, which she very reluctantly agrees to in order to keep the family from starving; when she finally tells Tateh, he is disgusted (with her, not with the foreman) and throws her out, telling their daughter that she has died and taking up the role of widower. | |
Ragtime / int_82a64c4b | featureApplicability |
1.0 | |
Ragtime / int_82a64c4b | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_82a64c4b | |
Ragtime / int_8338de89 | type |
"I Want" Song | |
Ragtime / int_8338de89 | comment |
"I Want" Song: "Goodbye My Love"/"Journey On" and "Wheels of a Dream". Also Coalhouse's part of "New Music". | |
Ragtime / int_8338de89 | featureApplicability |
1.0 | |
Ragtime / int_8338de89 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_8338de89 | |
Ragtime / int_83a903f6 | type |
Stepford Smiler | |
Ragtime / int_83a903f6 | comment |
Stepford Smiler: Mother suggests a couple of times (most notably in "Back To Before") that she's spent her married life as this, but we don't see much of her until after Father leaves, which is the catalyst for her to begin developing her own identity again, growing more and more independent and farther and farther away from Father as the story goes on. By the time Father comes back, she's come too far to be willing go back to the way things were. | |
Ragtime / int_83a903f6 | featureApplicability |
1.0 | |
Ragtime / int_83a903f6 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_83a903f6 | |
Ragtime / int_8767b1f3 | type |
Black-and-Gray Morality | |
Ragtime / int_8767b1f3 | comment |
Black-and-Gray Morality: Coalhouse's plot. There are a lot of people involved with very convoluted motives and values that are neither all good or all bad, but the firemen responsible for trashing the car are still clear villains, as they destroyed Coalhouse's property just to put him in (what they saw as) his place and because they knew they could get away with it. In the musical, Coalhouse even acknowledges the gray aspect of his own actions in "Make Them Hear You". | |
Ragtime / int_8767b1f3 | featureApplicability |
1.0 | |
Ragtime / int_8767b1f3 | featureConfidence |
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Ragtime | hasFeature |
Ragtime / int_8767b1f3 | |
Ragtime / int_88472ef3 | type |
Desperately Looking for a Purpose in Life | |
Ragtime / int_88472ef3 | comment |
Desperately Looking for a Purpose in Life: Younger Brother, until "The Night That Goldman Spoke at Union Square". Then he goes kind of crazy with the newfound purpose. note That particular moment of transformation is only in the musical, but all of the variations have some version of Younger Brother finding his purpose with Coalhouse's group. | |
Ragtime / int_88472ef3 | featureApplicability |
1.0 | |
Ragtime / int_88472ef3 | featureConfidence |
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Ragtime | hasFeature |
Ragtime / int_88472ef3 | |
Ragtime / int_8b68d9a7 | type |
Stalker with a Crush | |
Ragtime / int_8b68d9a7 | comment |
Stalker with a Crush: Younger Brother for Evelyn Nesbit. | |
Ragtime / int_8b68d9a7 | featureApplicability |
1.0 | |
Ragtime / int_8b68d9a7 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_8b68d9a7 | |
Ragtime / int_8e20979 | type |
Wham Episode | |
Ragtime / int_8e20979 | comment |
Wham Episode: Sarah's death is the first of many in the last 15 chapters of the book. | |
Ragtime / int_8e20979 | featureApplicability |
1.0 | |
Ragtime / int_8e20979 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_8e20979 | |
Ragtime / int_8efbd9d2 | type |
Meaningful Funeral | |
Ragtime / int_8efbd9d2 | comment |
Meaningful Funeral: Sarah's. | |
Ragtime / int_8efbd9d2 | featureApplicability |
1.0 | |
Ragtime / int_8efbd9d2 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_8efbd9d2 | |
Ragtime / int_94e7d8f | type |
Shoot Him, He Has a Wallet! | |
Ragtime / int_94e7d8f | comment |
Shoot Him, He Has a Wallet!: Sarah dies this way. | |
Ragtime / int_94e7d8f | featureApplicability |
1.0 | |
Ragtime / int_94e7d8f | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_94e7d8f | |
Ragtime / int_957e5fc2 | type |
Villainous Breakdown | |
Ragtime / int_957e5fc2 | comment |
Villainous Breakdown: Since Fire Chief Will Conklin is the closest thing to a villain in the show, he breaks down first in "Coalhouse Demands" and even more in "Look What You've Done". | |
Ragtime / int_957e5fc2 | featureApplicability |
1.0 | |
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1.0 | |
Ragtime | hasFeature |
Ragtime / int_957e5fc2 | |
Ragtime / int_984ef9ef | type |
"Not So Different" Remark | |
Ragtime / int_984ef9ef | comment |
"Not So Different" Remark: After Mother explains to Edgar that Tateh having a rope on his daughter is due to his fear of losing her, she notes that all parents fear losing their children — most just don't show it in such a visible way. | |
Ragtime / int_984ef9ef | featureApplicability |
1.0 | |
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1.0 | |
Ragtime | hasFeature |
Ragtime / int_984ef9ef | |
Ragtime / int_99404851 | type |
Ladykiller in Love | |
Ragtime / int_99404851 | comment |
Ladykiller in Love: Coalhouse with Sarah. Their initial split was because he was a womanizer (in the musical, Sarah says he "had other ladies"), but it's clear right from his first appearance that he sees Sarah as his One True Love. | |
Ragtime / int_99404851 | featureApplicability |
1.0 | |
Ragtime / int_99404851 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_99404851 | |
Ragtime / int_a1b141f4 | type |
My God, What Have I Done? | |
Ragtime / int_a1b141f4 | comment |
My God, What Have I Done?: Sarah's song "Your Daddy's Son". | |
Ragtime / int_a1b141f4 | featureApplicability |
1.0 | |
Ragtime / int_a1b141f4 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_a1b141f4 | |
Ragtime / int_a4905771 | type |
Double-Meaning Title | |
Ragtime / int_a4905771 | comment |
Double-Meaning Title | |
Ragtime / int_a4905771 | featureApplicability |
1.0 | |
Ragtime / int_a4905771 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_a4905771 | |
Ragtime / int_a4c37cbe | type |
Mood Whiplash | |
Ragtime / int_a4c37cbe | comment |
"What a Game" is a lighthearted sequence sandwiched between two much more grim scenes, and as such it's Mood Whiplash at both the transition in and the transition out. Justified up to a point since giving the audience a break from the heaviness of the second act is probably to the benefit of the show, but the transition is still extremely abrupt on both ends. | |
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1.0 | |
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1.0 | |
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Ragtime / int_a4c37cbe | |
Ragtime / int_a65288e2 | type |
Ascended Extra | |
Ragtime / int_a65288e2 | comment |
Ascended Extra: Of a sort. Emma Goldman's role in the novel is not insubstantial, but her actions are largely peripheral to the larger story (such that she was able to be completely written out of the film). In the musical, a speech from her is the catalyst for Younger Brother's transition from bored rich kid to social activist, and also serves as a narrator for plot points related to Tateh's ordeal and Younger Brother's activism. | |
Ragtime / int_a65288e2 | featureApplicability |
1.0 | |
Ragtime / int_a65288e2 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_a65288e2 | |
Ragtime / int_ad66049e | type |
Inspiration Nod | |
Ragtime / int_ad66049e | comment |
Inspiration Nod: Coalhouse's name is a Shout-Out to Michael Kohlhaas. | |
Ragtime / int_ad66049e | featureApplicability |
1.0 | |
Ragtime / int_ad66049e | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_ad66049e | |
Ragtime / int_b032e4ed | type |
Ms. Fanservice | |
Ragtime / int_b032e4ed | comment |
Ms. Fanservice: Evelyn Nesbit is this in-universe. | |
Ragtime / int_b032e4ed | featureApplicability |
1.0 | |
Ragtime / int_b032e4ed | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_b032e4ed | |
Ragtime / int_b29cc937 | type |
Sidekick Song | |
Ragtime / int_b29cc937 | comment |
Sidekick Song: "What a Game", "Crime of the Century". "Atlantic City" is a semi-subversion. | |
Ragtime / int_b29cc937 | featureApplicability |
1.0 | |
Ragtime / int_b29cc937 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_b29cc937 | |
Ragtime / int_b8e3f20a | type |
Demoted to Extra | |
Ragtime / int_b8e3f20a | comment |
Demoted to Extra: A mild case. While she does still get a few moments in the spotlight, Evelyn Nesbit's role in the musical is cut down significantly compared to both the book and the film. The Little Boy is a much less central character in the film than he is in either the book or the musical. | |
Ragtime / int_b8e3f20a | featureApplicability |
1.0 | |
Ragtime / int_b8e3f20a | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_b8e3f20a | |
Ragtime / int_beb932ca | type |
Big Applesauce | |
Ragtime / int_beb932ca | comment |
Big Applesauce: The majority of the plot takes place in New York and the surrounding area. | |
Ragtime / int_beb932ca | featureApplicability |
1.0 | |
Ragtime / int_beb932ca | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_beb932ca | |
Ragtime / int_beb9a361 | type |
Anti-Hero | |
Ragtime / int_beb9a361 | comment |
Anti-Hero: Coalhouse becomes this after Sarah's death. | |
Ragtime / int_beb9a361 | featureApplicability |
1.0 | |
Ragtime / int_beb9a361 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_beb9a361 | |
Ragtime / int_c2393191 | type |
Show Within a Show | |
Ragtime / int_c2393191 | comment |
"Crime Of The Century" is this not only for purposes of the show, but also in-universe, where it's framed as part of a vaudeville act. | |
Ragtime / int_c2393191 | featureApplicability |
1.0 | |
Ragtime / int_c2393191 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_c2393191 | |
Ragtime / int_c2cedc1c | type |
Big "NO!" | |
Ragtime / int_c2cedc1c | comment |
Big "NO!": Coalhouse in the immediate aftermath of Sarah's death, leading into the first notes of "'Til We Reach That Day". It works. Father gets to have one as well at the end of the play, when Coalhouse steps outside the library with his hands up, only to be gunned down. | |
Ragtime / int_c2cedc1c | featureApplicability |
1.0 | |
Ragtime / int_c2cedc1c | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_c2cedc1c | |
Ragtime / int_ca7ec334 | type |
Two Lines, No Waiting | |
Ragtime / int_ca7ec334 | comment |
Two Lines, No Waiting: There are three separate plotlines following the three families. They cross over and eventually become one towards the end. | |
Ragtime / int_ca7ec334 | featureApplicability |
1.0 | |
Ragtime / int_ca7ec334 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_ca7ec334 | |
Ragtime / int_ca87e3ec | type |
No Name Given | |
Ragtime / int_ca87e3ec | comment |
No Name Given: More common than not. Father, Mother, (Mother's) Younger Brother, Grandfather, Tateh (which is just the Yiddish word for "father"), and the Little Girl. In fact, other than the historical figures, the only two characters with actual names are Coalhouse and Sarah; Tateh takes on the stage name "Baron Ashkenazy" for his film career, but it's never stated one way or the other whether that's his real last name. note The surname "Ashkenazy" is one that's been found in Jewish populations, and specifically those who originated from Russia and surrounding countries, so it's possible. It almost might as well be a Nameless Narrative. The Little Boy is also this for the book and the film, but is Named by the Adaptation for The Musical, given the name "Edgar" after E.L. Doctorow. Word of God says this was because it was too difficult to address him without a name. | |
Ragtime / int_ca87e3ec | featureApplicability |
1.0 | |
Ragtime / int_ca87e3ec | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_ca87e3ec | |
Ragtime / int_d0c780d9 | type |
Rich Kid Turned Social Activist | |
Ragtime / int_d0c780d9 | comment |
Rich Kid Turned Social Activist: After a life of Rich Boredom, the "Brother" of the play's archetypal wealthy white family finds a purpose for his life when he happens to stumble into a socialist rally led by activist Emma Goldman, a Historical Domain Character. Her speech awakens him to the reality of race and class struggles in early 20th Century New York, and he abandons his family and life of comfort to join the revolt led by black protagonist Coalhouse Walker. | |
Ragtime / int_d0c780d9 | featureApplicability |
1.0 | |
Ragtime / int_d0c780d9 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_d0c780d9 | |
Ragtime / int_d39e327f | type |
What the Hell, Hero? | |
Ragtime / int_d39e327f | comment |
What the Hell, Hero?: Booker T. Washington to Coalhouse in "Look What You've Done". | |
Ragtime / int_d39e327f | featureApplicability |
1.0 | |
Ragtime / int_d39e327f | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_d39e327f | |
Ragtime / int_e16217f8 | type |
Historical Villain Upgrade | |
Ragtime / int_e16217f8 | comment |
Historical Villain Upgrade: J.P. Morgan. | |
Ragtime / int_e16217f8 | featureApplicability |
1.0 | |
Ragtime / int_e16217f8 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_e16217f8 | |
Ragtime / int_e25ae563 | type |
Final Love Duet | |
Ragtime / int_e25ae563 | comment |
Final Love Duet: Subverted. "Sarah Brown Eyes" is a flashback. | |
Ragtime / int_e25ae563 | featureApplicability |
-0.3 | |
Ragtime / int_e25ae563 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_e25ae563 | |
Ragtime / int_e2e4edb2 | type |
Yiddish as a Second Language | |
Ragtime / int_e2e4edb2 | comment |
Yiddish as a Second Language: Makes sense, considering Tateh's Jewish. | |
Ragtime / int_e2e4edb2 | featureApplicability |
1.0 | |
Ragtime / int_e2e4edb2 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_e2e4edb2 | |
Ragtime / int_f1007689 | type |
"I Am Becoming" Song | |
Ragtime / int_f1007689 | comment |
"I Am Becoming" Song: "The Night That Goldman Spoke at Union Square", "What Kind of Woman", and parts of "New Music". "Coalhouse's Soliloquy" is a dark example. | |
Ragtime / int_f1007689 | featureApplicability |
1.0 | |
Ragtime / int_f1007689 | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_f1007689 | |
Ragtime / int_f16f631d | type |
Crowd Song | |
Ragtime / int_f16f631d | comment |
Crowd Song: The show uses a number of them for storytelling. "'Til we Reach That Day" is the most famous one. "Crime Of The Century" is this not only for purposes of the show, but also in-universe, where it's framed as part of a vaudeville act. | |
Ragtime / int_f16f631d | featureApplicability |
1.0 | |
Ragtime / int_f16f631d | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_f16f631d | |
Ragtime / int_f32d85ab | type |
20 Minutes into the Future | |
Ragtime / int_f32d85ab | comment |
20 Minutes into the Future: The epilogue of The Musical. | |
Ragtime / int_f32d85ab | featureApplicability |
1.0 | |
Ragtime / int_f32d85ab | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_f32d85ab | |
Ragtime / int_f3fd818b | type |
Dark Reprise | |
Ragtime / int_f3fd818b | comment |
Dark Reprise: "Coalhouse's Soliloquy" is this for "Prologue: Ragtime", "Wheels of a Dream" (though it then gets a light reprise also), and "Your Daddy's Son" (though the original was already dark, the reprise is much darker). | |
Ragtime / int_f3fd818b | featureApplicability |
1.0 | |
Ragtime / int_f3fd818b | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_f3fd818b | |
Ragtime / int_f511ea9b | type |
Product Placement | |
Ragtime / int_f511ea9b | comment |
Product Placement: The original Broadway production of the musical premiered in what was then known as the Ford Centre For the Performing Arts, so naturally there is an extended musical number extolling the wonders of Henry Ford's assembly line and the Model T. This would also explain why Henry Ford's more unsavory characteristics—in particular his feelings about Jews—are glossed over. | |
Ragtime / int_f511ea9b | featureApplicability |
1.0 | |
Ragtime / int_f511ea9b | featureConfidence |
1.0 | |
Ragtime | hasFeature |
Ragtime / int_f511ea9b | |
Ragtime / int_name | type |
ItemName | |
Ragtime / int_name | comment |
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Ragtime / int_name | featureApplicability |
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Ragtime / int_name | itemName |
Ragtime |
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