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Post by galacticgirrrl on Mar 15, 2024 0:31:06 GMT
I'm bumping this up from another thread where I mistakenly posted it this morning, not realizing where I was. Not to worry, though. Nothing to see here, folks. I still have my recall and...what's that other thing? wrong to laugh....but sometimes the girrrl can't help it. ( licking pencil tip: check impact of singing rodents on impairment of cognitive abilities) I dare you to not at least toe tap to this next one... Just as every boy and his brother picked up a guitar after The Beatles first appeared on Huntley-Brinkley Report, The Jack Paar Program Sullivan, many a band hoped for their Hard Day's Night. And so we receiveth... Catch Us If You Can (1965)
(U.S. tile: Having a Wild Weekend in the U.S.; also known as The Dave Clark Five Runs Wild) I love this title song. The movie is fabulous - didn't realize it has critical cred as well which is nice to read. Marianne Faithfull rejected the role of Dinah as being "too poppy."
Interesting. Barbara Ferris aces it so not sure what I think of that lost possibility.
The film is less of a conventional pop vehicle than one dealing with the frailty of personal relationships, the flimsiness of dreams and the difficulty of maintaining spontaneity, authenticity, and integrity in a stage-managed 'society of the spectacle'.
In view of the fact that John Boorman, who has worked for television, is only thirty-one and is making his first film, this is a director's picture from start to finish. Boorman's obvious feeling for the medium is rich in promise.
Two things make this an intriguingly unusual teenage musical: it is consistently worth looking at, and it finds intelligent expression for a genuinely youthful point of view. - The Monthly Film Bulletin
Obvious but strangely haunting romance, fresh and fetching British film - New York Times
Catch Us If You Can - Dave Clark Five |
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Post by BunnyWhit on Mar 16, 2024 20:48:32 GMT
The Days of Wine and Roses (1962)
The song won Mercer and Mancini a Song of the Year Grammy, as well as an Academy Award for Best Original Song. Andy Williams recorded it for a gold record.
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Post by galacticgirrrl on Mar 16, 2024 21:37:05 GMT
The Days of Wine and Roses (1962)
The song won Mercer and Mancini a Song of the Year Grammy, as well as an Academy Award for Best Original Song. Andy Williams recorded it for a gold record.
Gorgeous song. Great movie. That Lemmon clip you found is incredible. I love such peaks behind the wizard's curtain. You had me google the Ernest Dowson poem upon which it is based for which I'll be eternally grateful. Vitae summa brevis spem nos vetat incohare longam
THEY are not long, the weeping and the laughter, Love and desire and hate: I think they have no portion in us after We pass the gate. They are not long, the days of wine and roses: Out of a misty dream Our path emerges for a while, then closes Within a dream. |
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Post by BunnyWhit on Mar 17, 2024 6:14:32 GMT
The Days of Wine and Roses (1962)
The song won Mercer and Mancini a Song of the Year Grammy, as well as an Academy Award for Best Original Song. Andy Williams recorded it for a gold record.
Gorgeous song. Great movie. That Lemmon clip you found is incredible. I love such peaks behind the wizard's curtain. You had me google the Ernest Dowson poem upon which it is based for which I'll be eternally grateful. Vitae summa brevis spem nos vetat incohare longam
THEY are not long, the weeping and the laughter, Love and desire and hate: I think they have no portion in us after We pass the gate. They are not long, the days of wine and roses: Out of a misty dream Our path emerges for a while, then closes Within a dream. |
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Post by galacticgirrrl on Mar 17, 2024 21:59:56 GMT
From the sublime to the ridiculous: put on your bibb and tucker.....
I feel like one of those birds attracted to shiny objects. I can't get enough of old Hollywood glitz and glam and vintage musicals. Apparently I am the only one:
Critical reception for Hollywood Party upon its original release was largely negative. Multiple exhibitors wrote in to the Motion Picture Herald to express their disgust with the movie, and one theater manager from Kentucky called it "One of the poorest excuses for a picture we have ever played"
I can speak from personal experience that being a telephone operator was great fun. Mes vêtements were nowhere near as glorious.
Hollywood Party
(1934) (uncredited)
Music by Richard Rodgers
Lyrics by Lorenz Hart
Performed by Frances Williams with chorus
Hollywood Party 1934
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Post by I Love Melvin on Mar 27, 2024 12:31:49 GMT
Robert Mitchum didn't sing the title song under the credits for Thunder Road (1958), but he had a decent-sized radio hit with his recording. The producers must have realized too late that they's missed out on a golden opportunity. Mitchum toyed with a singing side hustle and even released a calypso album. A fan has matched footage from the film with his version in this YouTube clip.
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Post by I Love Melvin on Mar 27, 2024 12:50:47 GMT
Tab Hunter not only dabbled but actually had a successful recording career, but for some reason filmmakers never got the bright idea of having him sing a theme song. Until John Waters, that is, when Tab got to do the honors for Polyester (1981), in a song written by Debby Harry and Chris Stein. Better late than never.
John Waters was famous for his early soundtracks, which unearthed some great unknown (and some well-known) gems from the early days of rock 'n' roll. As he began a slow movement closer to the mainstream he incorporated more traditional filmmaking techniques such as closeups and stationary as opposed to hand-held camera setups. With Female Trouble (1974) he also brought in a theme song, in which Divine perfectly set the tone for the movie. Divine was intrigued enough to pursue an independent recording and performing career which took him all over the world.
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Post by I Love Melvin on Mar 27, 2024 13:34:44 GMT
As in Mitchum's case, another missed opportunity was to have Tony Perkins sing the title song for Friendly Persuasion (1957), passing the song along to Pat Boone, maybe because he already had a track record for getting songs on the radio. Tony had a minor recording career and went on to star in a musical on Broadway, Greenwillow (1960), a kind of Brigadoon-ey fantasy. It's a nice enough song but I'd call this a fail as far as connecting the right person to the task.
Pat had his own string of hit movie themes, the biggest being April Love (1957). He didn't sing it under the credits, but instead debuted it at a country club dance. Speaking of epic fails, this one had Shirley Jones at the ready but only featured her as an afterthought in a corny cookout number mostly sung by the guys.
Bernardine was the same year and Pat also got this one on the radio, though the biggest hit featured in the movie was "Love Letters in the Sand". Terry Moore was the female lead and that's Dick Sargent and Ronnie Burns (George and Gracie's son) as part of Pat's posse.
The next year it was Mardi Gras (1958), though neither the song or the movie was all that big a hit. But Pat had the kind of mellow voice (Some would say bland.) which could sell just about anything. Personally, I thought his was one of the most distinctive voices to come to movies since Bing Crosby, though I certainly know that's arguable. I'll spare you All Hands on Deck (1961) because it's not available as a clip and it's no great loss.
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Post by I Love Melvin on Mar 28, 2024 23:19:33 GMT
The Robert Mitchum song reminded me that Jeff Chandler was another one who dabbled with a singing career, cutting some "standard-ey" songs for an album. He sang the title song under the credits for Universal's Foxire (1955), in which he co-starred with Jane Russell. Turns out he collaborated with Henry Mancini on the song. Not bad, in a generic crooner kind of way, but not great either. Here he is performing it on TV. Didn't they have a makeup person? I don't think I've ever seen someone sweat that much on TV.
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