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About Caramia

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  1. Tyrone Power was in _The Mark of Zorro_ (1940) with Basil Rathbone
  2. Carmen Miranda was in _That Night in Rio_ (1941) with Alice Faye. *New Star: Alice Faye*
  3. Hmmn, lets see, probably all black and white would give you the impression that was old Random possibilities: Cairo ( 1942), Don't Worry, We'll Think of a Title ( 1966) My Favorite Blonde ( 1942) My Favorite Spy ( 1942) My Favorite Spy ( 1951) Ship Ahoy ( 1942) They Got Me Covered ( 1943)
  4. Hmmn, lets see, probably all black and white would give you the impression that was "old". Random possibilities: Cairo ( 1942) Don't Worry, We'll Think of a Title ( 1966) My Favorite Blonde ( 1942) My Favorite Spy ( 1942) My Favorite Spy ( 1951) Ship Ahoy ( 1942) They Got Me Covered ( 1943)
  5. Ok, no puns from me Message was edited by: Caramia
  6. I have no clue of the name, and this is a bit long, but... From the Wiki:"Musical score: Main article: Vertigo (film score) In a 2004 special issue by Sight and Sound devoted to Film Music, Martin Scorsese described the qualities of Herrmann's famous score. S&S: What is your favourite film soundtrack music and why do you like it so much? A big question. There are so many, and they all work so differently ? from a big, beautiful score for full orchestra like Jerome Moross' for Wyler's The Big Country or David Raksin's for Force of Evil, to a more modern score with very spare instrumentation, like Giovanni Fusco's for L'Avventura or Hans Werner Henze's for Resnais' Muriel. I suppose that if I were hard-pressed to answer this question ? and I suppose I am ? I'd have to say Bernard Herrmann's score for Vertigo. Hitchcock's film is about obsession, which means that it's about circling back to the same moment, again and again. Which is probably why there are so many spirals and circles in the imagery ? Stewart following Novak in the car, the staircase at the tower, the way Novak's hair is styled, the camera movement that circles around Stewart and Novak after she's completed her transformation in the hotel room, not to mention Saul Bass' brilliant opening credits, or that amazing animated dream sequence. And the music is also built around spirals and circles, fulfilment and despair. Herrmann really understood what Hitchcock was going for ? he wanted to penetrate to the heart of obsession. And from the article on Herrmann: Herrmann is most closely associated with the director Alfred Hitchcock. He wrote the scores for every Hitchcock film from The Trouble with Harry (1955) to Marnie (1964), a period which included Vertigo, Psycho, and North by Northwest. He oversaw the sound design in The Birds (1963), although there was no actual music in the film as such, just electronically created bird sounds. His score for Vertigo is seen as just as masterful. In many of the key scenes Hitchcock let Herrmann's score take center stage, a score whose melodies, echoing Richard Wagner's Liebestod from Tristan und Isolde, dramatically convey the main character's obsessive love for the woman he tries to shape into a long-dead, past love. A notable feature of the Vertigo score is the ominous two-note falling motif that opens the suite ? it is a direct musical imitation of the two notes sounded by the fog horns located at either side of the Golden Gate Bridge in San Francisco (as heard from the San Francisco side of the bridge). This motif has direct relevance to the film, since the horns can be clearly heard sounding in just this manner at Fort Point, the spot where the character played by Kim Novak jumps into the bay. Bernard Herrmann said in a Q&A session at the George Eastman Museum in October 1973, that unlike most film composers who did not have any creative input into the style and tone of the score, Herrmann insisted on creative control or he would not score the film at all. Herrmann said:I have the final say, or I don?t do the music. The reason for insisting on this is simply, compared to Orson Welles, a man of great musical culture, most other directors are just babes in the woods. If you were to follow their taste, the music would be awful. There are exceptions. I once did a film The Devil and Daniel Webster with a wonderful director William Dieterle. He was also a man of great musical culture. And Hitchcock, you know, is very sensitive; he leaves me alone. It depends on the person. But if I have to take what a director says, I?d rather not do the film. I find it?s impossible to work that way. Herrmann stated that Hitchcock would invite him on to the production of a film and depending on his decision of the length of the music, would either expand or contract the scene. It was Hitchcock who asked Herrmann for the "recognition scene" near the end of Vertigo(the scene where Jimmy Stewart's character realizes in a sudden instant Kim Novak's identity) to be played with music.
  7. Prince, you are so right, I don't want to see the advertisements.
  8. I would love something like that. For your example of '39, a mini-intro, even, letting me know the country was in a depression, and the people wanted and needed a few moments of hope, strength, and humor. I remember my mother stating that to scrape together the pennies needed to take a family to the theater in 1939 meant weeks of saving for her. She always looked for the movies that they could sing to later at home. Those movies were the reward night for the family members having worked so hard to run a farm. Of course, that then would engender a whole slew of comments arguing, no, better said, debating what affected what, and what effect that had on movies; I would enjoy even that debate.
  9. I had no idea he was in so many films. Wallace Ford had a talent though that let him be one of those people that you really see when he was on-stage/"on". He didn't steal the scene, instead he enabled the scene. The scene was better for having had him in it.
  10. You know, I had the same feeling at times. I feel quite lucky now to have found this forum. Like you, I am new to the forum, and in reading through posts here, I have discovered a whole world of interest in seeing some of these again. In another post, about the 20's, it was said much better (by ThelmaTodd I believe), these movies encompass a whole world of interest, in the history, the art, the movie making techniques, the architecture, the social mores, the accepted demeanor. Ah you will need to see her post. For me, now I have begun to see a glimmer of what R. Osborne is talking about before the movies start. I watch a movie now and see more than a plot I have seen before. Now I have begun to look at the acting, to wonder why the director chose to accept a certain view over another, to look at the lighting and the wardrobe. I find myself making mental comparisons with other roles an actor has played, and seeing more of the chemistry. And now I have begun to look more at what connection the film has with the other films scheduled for the month. I have begun to see the links between period pieces, not just in whether it is black and white, or color, not just in whether the cars were Model A's or Rolls Royce's. I had no idea that there were color films in the 20's for example. Silly of me to assume, but it had never occured to me. So many of the people posting here are quite learned in the field, either as a hobby or as a vocation. It is truly appreciated, by the way, you'all. Granted, I came to watch TCM because I love some of the old films. I could watch Philadelphia Story or almost any Cary Grant film everyday. And the Thin Man series, ahhhh, Powell and Loy shine! Perhaps it is a good thing that some classic films are played more than once a year, to let people of many ages have a chance to enjoy them. I do love movies, always have. I hope having access to the TCM forum and schedules will let you find the movies you love too! -Cara
  11. *Dr Kildare* New word = inspiration Message was edited by: Caramia
  12. On right now... May 17, 08:00PM *Seven Brides for Seven Brothers*. Now this one really has tunes that stick.
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