MovieProfessor
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{font:Arial}{color:black}Now that we’re down to the wire here and tonight is the big night, I’d thought to throw in my 2cents worth of possible winners.{font}
{font:Arial}{color:black}Motion Picture of the Year:{font}
{font:Arial}{color:black}Since its release, “The Artist” has maintained a steady flow of support in just about every field. This is the sure bet to win tonight. If not, then my second choice would be the obvious hype surrounding “Hugo.” Interestingly, both frontrunners are about the art or business of motion pictures! This category shouldn’t be such a toss-up, in that one of these films will probably take home the “Oscar.”{font}
{font:Arial}{color:black}Performance by an Actor:{font}
{font:Arial}{color:black}This is to my estimation a toss-up between George Clooney for “The Descendants” and French actor Jean Dujardin for “The Artist.” While some insiders say Brad Pitt is the dark-horse looming in the shadows, this race is simply too close to really call. Clooney seems to have the edge, while Dujardin has to rely on the sheer popularity of his film.{font}
{font:Arial}{color:black}Performance by an Actress:{font}
{font:Arial}{color:black}There’s been so much talk about Merly Streep in “The Iron Lady,” focusing upon a performance that’s been considered astounding, when you compare it to the real historic person she portrayed. Yet, for all the fuss that was made about Meryl, the big success of “The Help” with actress Viola Davis has her running neck and neck with Meryl to win. I don’t see Michelle Williams pulling it off, simply because "My Week With Marilyn" hasn’t had such mass appeal as was expected early on in the year. Rooney Mara for “The Girl with The Dragon Tattoo” is also to my feeling, not a real hot contender. The one actress that might create one of the biggest of all upsets in Academy history is Glenn Close for “Albert Nobbs.” She’s never won and was for a time a great rival to Meryl. The problem for Glenn and her movie is that it’s had such a limited release. She would be my pick to deserve the award, while the reality of the situation may give cause to say different.{font}
{font:Arial}{color:black}Performance by an Actor in a Supporting Role:{font}
{font:Arial}{color:black}As far as I’m concern, this is no contest. The “Oscar” must go lock-stock-and barrel to long time veteran actor Christopher Plummer and his extraordinary performance in “Beginners.” If he loses tonight, it will be a milestone of an upset.{font}
{font:Arial}{color:black}Performance by an Actress in a Supporting Role:{font}
{font:Arial}{color:black}This category might not be so difficult to pick! Two actresses from “The Help” are nominated and this will probably split the votes between them. Next, you have a comedic actress for “Bridesmaids” and then a dramatic one for a film hardly anyone has seen, “Albert Nobbs.” So, that leaves the possible best candidate to win, French actress Berenice Bejo, because of the huge popularity surrounding “The Artist.”{font}
{font:Arial}{color:black}Achievement in Directing:{font}
{font:Arial}{color:black}This is a difficult one to chose. I see three frontrunners here. First, it’s Michel Hazanavicius for “The Artist.” He’ll be riding on the tremendous success of his film. Second, there’s Alexander Payne for “The Descendants.” This director has already won an “Oscar” for a screenplay and this may impede his chances against Hazanavicius. Finally, there’s the popular and highly respected Martin Scorsese. He’s been around a long time and has already experienced the sure joy of “Oscar” glory. Scorsese could win tonight, but the bets on this category are being placed on the Frenchman to take it all home.{font}
{font:Arial}{color:black}Screenplay Written Directly for the Screen:{font}
{font:Arial}{color:black}All bets here will be on “The Artist.” None of the other four films have had the hype and momentum to win. In feeling this way, I won’t bother to list the other four nominees!{font}
{font:Arial}{color:black}Screenplay Based on Material Previously Produced or Published:{font}
{font:Arial}{color:black}This could go either way . . . “The Descendants” is probably the frontrunner, with “Hugo” and Moneyball” a close second. The British film, “Tinker Tailor Soldier Spy” has already been done successful for television and this I think (despite being a great production!) hurts its overall chances to create an upset. The big surprise tonight could be “Moneyball.” It could take it away from “the Descendants.”{font}
{font:Arial}{color:black}Foreign Language Film of the Year:{font}
{font:Arial}{color:black}I like “Footnote” from {font}{font:Arial}{color:black}Israel{font}{font:Arial}{color:black}.” However, the big fuzz has been about “A Separation” from {font}{font:Arial}{color:black}Iran{font}{font:Arial}{color:black}. This could result in the only political, sensitive moment facing the Academy, assuming “A Separation” wins and the acceptance speech doesn’t create a controversy.{font}
{font:Arial}{color:black}Achievement in Cinematography:{font}
{font:Arial}{color:black}The two big choices here are “The Artist” and “Hugo.” Standing in the shadows is an outside chance for “War Horse.” I’d place my bets on “The Artist” to pull out the win.{font}
{font:Arial}{color:black}Achievement in Editing:{font}
{font:Arial}{color:black}Once again, I’ll go with “The Artist” on this one. It has a total, classy, bright style that speaks in pure cinematic terms that can’t be so easily overlooked. And, it’s a film that brings back a type of filmmaking of the past anyone who knows and loves movies can appreciate!{font}
{font:Arial}{color:black}Achievement in Art Direction:{font}
{font:Arial}{color:black}I’d say it’s a dead heat here between “The Artist” and “Hugo.” Again, “War Horse” would be the outsider to come off as a surprise. My gut feeling says “The Artist,” but “Hugo” is simply a dazzling work of art!{font}
{font:Arial}{color:black}Achievement in Costume Design:{font}
{font:Arial}{color:black}If “The Artist” doesn’t win, then it will go to “Hugo.” But, who knows?{font}
{font:Arial}{color:black}Achievement in Makeup:{font}
{font:Arial}{color:black}Another dead heat, between “The Iron Lady” and “Albert Nobbs.” This one could go either way. Too close to call!{font}
{font:Arial}{color:black}Achievement in Music Written for Motion Pictures, Original Score:{font}
{font:Arial}{color:black}John Williams is up to two nominations here, so I’d write him off. That leaves the two biggest contenders “The Artist” and “Hugo.” I’ll bank on “The Artist” to take this one.{font}
{font:Arial}{color:black}Well, this is as far as I go! I’ll be watching tonight with the rest of you! Good luck to everyone on their choices and let’s have a great show tonight for all of us to enjoy!{font}
{font:Arial}{color:black}MP {font}
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No doubt about it! She was a knock out! It's funny how when she became so famous, later on in life as an older character actress, it's difficult for some fans to envision her as a glamorous, beautiful woman.
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> {quote:title=slaytonf you ask: }{quote}What are some films, aside from the ones you mentioned that you would like to have in a profile of his work? I'm most interested in using this idea as a way of bringing new films to TCM, or airing ones that are rarely shown. Any of those films with Raksin's work that fit the bill?
{font:Arial}{color:black}While David had a limited output of scores, certainly what he did create warrants attention and can be perceived as giving him a worthy profile of his own! Of his scores that I might consider, in relation to a diversity of subject matter are the following:{font}
{font:Arial}{color:black}“Laura.” This one is easy to figure out why it has to be included. This was from a historical standpoint, one of the very first films to incorporate a basic theme that covered most of the background music of the film. I’ve always felt that this invention of a basic theme was owed to none other than Alfred Newman, who was running the music department at 20th Century-Fox and must be credited with getting David’s composing career off the ground.{font}
{font:Arial}{color:black}“The Gang’s All Here.” Now, trust me on this one! While this was one of the best Technicolor musicals of 20th Century-Fox during the War Years, David did a few of the orchestrations and composed all the music to the spectacular finale, stemming from the song “The Polka-Dot Polka.” Al Newman handled the musical direction and for some years it was believed he composed the grand finale of the film. This occurred because David was unaccredited for his work and for other numerous films throughout his career.{font}
{font:Arial}{color:black}“The Shocking Miss Pilgrim.” Ok, here we ago again! Another musical and in this case probably the best one Betty Grable ever made at 20th Century-Fox! The songs were written by George and Ira Gershwin. But, it was David who beautifully orchestrated the tunes, some of which became hits. Al Newman received credit for the musical direction, but David was the one who put this wonderful film’s music together. {font}
{font:Arial}{color:black}“The Secret Life of Walter Mitty.” Wow! This is what I would call the big turning point in David’s career as far as musicality goes! He was loaned out to the Goldwyn Studios and in the process created what is truly a masterpiece of film scoring. This was the first time he was out on his own and without the support and tutelage of Al Newman. However, throughout the film, I sense Newman’s influences everywhere. David would say on occasions that this score was a massive undertaking, incorporating more styles and themes than he had ever dealt with up to that time. There is an absolute beauty to listening to this score that contributed so much to the success and popularity of the movie. {font}
{font:Arial}{color:black}“Forever Amber.” This was a film that fans might have expected Al Newman to handle. It was an historical epic and one of the studio’s biggest productions of the year. But, David having proven himself over at the Goldwyn Studios was given the green light by Darryl Zanuck to take over and man did he do a magnificent job! This of course meant his usual means of surrounding the music score with a basic theme. Still, David had a series of others themes for the film he skillfully created and director Otto Preminger (who directed “Laura”) praised David and they would work together in the following years to come. David received an “Oscar” nomination for his work. Interestingly, Al Newman was also nominated for “Captain from {font}{font:Arial}{color:black}Castile{font}{font:Arial}{color:black},” the other big epic film that year from 20th Century-Fox. Neither composer won, losing out to Miklos Rozsa and his score for “A Double Life.” Perhaps the votes for David and Al Newman were divided evenly between them in order for Rozsa to win? I wonder. Anyway, the best thing about this score today is that it's available, in full, on CD! So, I say don't wait if you don't have it, because it will probably go out of print! {font}
{font:Arial}{color:black}“Daisy Kenyon.” We’re back to drama here and David came off with a rather mild but effective music score, underlining the various characters to what was essentially a melodrama from director Otto Preminger. At this point, David now appears to be the composer of choice by Preminger and the results are quite good. Unlike his previous scores, there wasn’t one main theme surrounding the score, but an interesting blend of serious symphonic tones that uplifted the film to appear as a prestigious drama, instead of a typical soap opera.{font}
{font:Arial}{color:black}“Whirlpool.” Enter 1950 . . . This marked David’s last score for 20th Century-Fox, until he retuned six years later! Once again, he’s teamed up with Preminger for what is one of the best suspense dramas of the year. David added a rather flamboyant and moody style to the music score. This pretty much signified how he saw the confused mental state of a woman suffering from enforced delusions by a corrupt hypnotist. In watching this film, David’s music has a way of transposing the atmosphere towards feeling the conflict of the mind trying to understand the torment of what is possibly real and what is a superimposed fantasy. This score that I rate highly has never been given a decent release as a full album on CD. I thought somewhere along the way, before David’s death someone might produce a version of the score, but I have yet to see one appear.{font}
{font:Arial}{color:black}“Pat and Mike.” One of the very best Tracy and Hepburn films to come out of MGM. David would at this time, during the early 1950’s, be working regularly at MGM and this decade would be his most prolific as a film composer. While this isn’t such a spectacular score, it was an amusing one. David created two separate themes for Tracy and Hepburn, culminating towards one basic love theme. It’s always been the theme he wrote for {font}{font:Arial}{color:black}Tracy{font}{font:Arial}{color:black} that’s the most wonderfully spirited of all. The various montages spurred on by David's music, as Hepburn raises to glory as a tennis player were exhilarating. But, my favorite piece of music was the one heard during the scene at the restaurant, the night before Hepburn’s big golf tournament. This was a theme that incredibly was something of a mixture to the themes of the main characters. Well, luckily for all of us, this score is available on CD. The original recording sessions from MGM are mostly intact. Glory Hallelujah!{font}
{font:Arial}{color:black}“Carrie.” This is David’s first score created at Paramount Pictures. It was a period drama, based on the classic novel by Theodore Dreiser. It was on all counts a big motion picture, starring Laurence Olivier and Jennifer Jones. The music was low-keyed to the point of expressing the cold, sadden atmosphere of a period that identified with the struggles of those on the low-end of society, reaching for some sort of wealth and satisfaction. The music score is rather simple, but with overtones of beauty and grit that expresses the emotional needs of the characters and their doomed romantic entanglement.{font}
{font:Arial}{color:black}“The Bad and The Beautiful.” A masterpiece of modern film scoring or one that set a standard that has never left us! David was back at MGM and man did he create a winner here! This was a big picture and David saturated the film with enough themes to have a few left over and the end results are dazzling. The main theme is one of the most famous, if not, recognizable for any film coming out of the 20th Century. My favorite of all themes is the one used during the montages. Years later, David would record for RCA, a symphonic suite of the score, conducted by him! This album became one of the most popular of its kind, stemming from a classic film score series RCA invested heavily in. David was one of a few noted film composers, still alive to contribute to the series. The others were Bernard Herrman, Miklos Rozsa and one of my all time heroes Dimitri Tiomkin. So, David was in good company during those years classic film music made a huge comeback!{font}
{font:Arial}{color:black}“The Vintage.” This is a film TCM could easily air, since its part of the MGM collection, but hasn't been seen much. Most likely, because the film is not so well known and wasn’t exactly a big success, it has suffered the woes of being neglected and not considered mainstream. Despite a rather lukewarm sort of reception on the part of the critics and public, “The Vintage” does have a wonderful score by David and for all accounts, ought to be placed on a CD album, simply because of the craftsmanship displayed from a musical sense of thinking.{font}
{font:Arial}{color:black}“Until The Sail.” I must admit this is one of my all time favorites of David! Not only are the character themes and background music first rate, so is the exquisite love theme of the motion picture that was beautifully sung by Edie Gorme. Once again we’re in luck! The entire score is available on CD, straight from the MGM vaults! If you’re a real devoted film music fan, than this is the type of recording you can really appreciate. TCM has already shown the film on various occasions and I try never to miss it, even though I’ve seen the film countless times!{font}
{font:Arial}{color:black}“Twilight for the Gods.” Here we have David’s first and only time he worked at Universal Pictures. This was for a big Rock Hudson adventure vehicle that was nicely produced. The film is in my opinion rather underrated and David’s score is one of his best of the period as the 1950’s are winding down. I feel a bit frustrated about this score in that Universal never offered a soundtrack release. This is a score that deserves consideration, based solely on the beauty and skill of what David composed that otherwise would have been another in a typical sort of routine score so use to receiving from Universal Pictures. Had David cut a deal with the studio and stayed on, he might have lifted their prestige to levels they had never really known on a regular basis.{font}
{font:Arial}{color:black}“Two Weeks In Another Town.” Ok, I know some of you will say, “Hey ain’t this just a rehash of “The Bad and The Beautiful?” Well, there’s no denying that because film clips were used from the previous film, it stands to reason that David relied to some extent towards his earlier work. This has been considered a sequel of sorts, because of the same major star and director revising the aura of a previous success. Yet, there is for consideration, a new and fresh feel to what David added and the results were satisfactory, if not, bright and intense. The score for “Two Weeks In Another Town” was also more sophisticated than his earlier work on “The Bad and The Beautiful.” You can judge for yourself, because a CD of the entire score is available! I have it and treasure it!{font}
{font:Arial}{color:black}“Love Has Many Faces.” I can just hear a few of you laughing at the selection of this one! Ok, it is a rather flashy sort of melodrama about gigolos and bored rich women looking for companionship around the beaches of {font}{font:Arial}{color:black}Mexico{font}{font:Arial}{color:black}. Yet, David added a bit of an ornate fashion that reflected well upon the main characters of the story. The score is modern and lavish to a point of signifying the atmosphere shrouded by a Latin flavor, while staying closely connected to a contemporary pop style of music. What really adds to the film’s favor is hearing the theme song, beautifully done by Nancy Wilson. There was a single made of the theme song, but no soundtrack has ever been available. I give high marks to TCM for having aired the film and hope to see it again.{font}
{font:Arial}{color:black}“A Big Hand For The Little Lady.” One of the last, finest scores of David’s career came with this interpretation of the “Old West.” This marked his first and only time at Warner Brothers. Because this was a western, the score might be considered a lively one. However, there is another fine mixture of low-keyed materials and those that uplift the spirit towards a sort of bonding to the whole aspect of the storyline. I believe this is one of David’s few scores that had an infectious quality, both as to relating to the characters and a finale that when first viewed by an audience was a tremendous, joyous surprise. Uniquely, it’s at the end of the film, with the credits displayed, the main theme of the movie is heard in its entirety. The film score was in many ways a triumph for David, because he really experimented and went into music areas not expected for a western film. The symphonic opening of the film alone, speaks for itself on a tone of avant-garde. There is both a symphonic and yet, folkloric sense to what he created. This film score has a very strange history in that the studio soundtracks disappeared and the entire score is sort lost or may never be recovered. This is unless someone will painstakingly sit down and rewrite everything from hearing the actual finished film strip. TCM has already shown this film, so it won’t be so easily missed.{font}
{font:Arial}{color:black}On the question of “The Big Combo” . . . Well, that was totally David’s and he should get the credit as the film’s composer.{font}
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{font:Arial}The William Wyler, 1956 “Producer’s Showcase” version of “The Letter” had to be tightly staged and conceived for its television presentation. Adding to this rather variant method was the issue of being presented “live” and having what was for the era, a spontaneous progression of excitement. Nobody at the time of the broadcast (at least the press!) made a comparison to the 1940 film. Everyone pretty much accepted the notion that this was a different direction being taken, especially on the part of William Wyler. Some fans might feel that the television drama of the Maugham short story was contracted from the original Broadway play. This issue didn’t seem to matter, because in the technical sense of thinking, Wyler had to make various changes to the content for television, due in large part to commercials breaking into the stream of the presentation and allowing for the usual means of changes for the scenes. I’d say that Wyler combined both aspects of his filmed version and that of the original play. Most likely, the television version owed more to the play than it did towards the movie, because Wyler being a committed artist to his craft didn’t want to be conceived as having repeated himself. Those of us who saw this “live” drama on television will usually agree that it was Anna May Wong who stole the show!{font}
{font:Arial} {font}
{font:Arial}There is to this day, a controversy surrounding the highly prized and respected “Producer’s Showcase” television program. So far, only the beautiful musical artists of the classical field and pop music, who appeared on the program throughout its distinguished run, have had a decent video release; as of now, there are two box sets that are a mixture of the various seasons. These available box sets of “Producer’s Showcase” are labeled as “Festival of Music.” Meanwhile, the diversified dramas and specials remained scattered about on poor quality materials or they are simply not available at all. There was for a short time, a letter writing campaign to the NBC network, in order to perhaps generate interest in a continued process of having the dramas finally released. This has been slow to happen and while many fans wait, there are sites on the web that offer terrible kinescoped versions of some dramas and specials. Just about every written, major work or popular story from Maugham reached television at some point during what is now termed as television’s Golden Age! This is an impressive achievement by those in the television industry that spent a lot of time and effort presenting a great writer’s works; some of which weren’t widely known! One of the finest dramas presented of Maugham’s works on NBC was that of “The Moon and Sixpence,” in 1959. The drama was broadcast “live’ and in color! It starred Laurence Olivier, Judith Anderson, Hume Cronyn, Cyril Cusack, Denholm Elliott, Geraldine Fitzgerald, Jean Marsh and Jessica Tandy.{font}
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> {quote:title=slaytonf you asked: }{quote}Who's a composer you'd like to see highlited?
Well, my first choice would be David Raksin, because I knew the man and learned a lot about the art of film scoring from him. His crop of film music wasn't exactly very high, but what there was of it, certainly added enough quality and poise to classic Hollywood. David struggled somewhat throughout his music career in motion pictures, due to demands and attitudes forced upon him by various producers and directors who knew nothing about music making. There was this sophistication to his style that expressed a dexterity beyond what others could produce. Discovered by Charlie Chaplin to arrange the score for "Modern Times," in 1936, David's career was off and running to a high flying start. For a very long time, David did orchestrations before getting into actual composing. His big break came when fellow composer Alred Newman supported his ideas and craftsmanship while David worked at 20th Century-Fox. This led to his most famous score for the film nori classic, "Laura." In his later years, he worked at MGM, where he brought a new sort of avant-garde to the music department, under the leadership of Johnny Green. Perhaps his greatest known work for MGM was "The Bad and The Beautiful." This score would in time, become one of the most studied, copied and popular of its kind. Before his death in 2004, at the age of 92, he was still promoting the art of film music at universities and various film festivals.
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> {quote:title=slaytonf wrote:}{quote}I choose Michel Legrand.
Well, you didn't mention one of his most magnificent film scores, "Ice Station Zebra." This was truly surprising, since Legrand was considered more a pop music oriented composer. Thus, he has become one of the best and revered music maker's of his generation.
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{font:Arial}Interestingly, William Wyler made his network television directing debut with a “live” staged version of “The Letter” in 1956! In the Bette Davis role was the wonderful, yet almost unrecalled Irish actress, Siobhan McKenna, who appeared in numerous British films and on the {font}{font:Arial}London{font}{font:Arial} stage. The great John Mills, handled the role of the husband. Dashing Michael Rennie was the lawyer. And, in the role of the Asian mistress was the fabulous Anna May Wong. The production was part of the highly admired NBC network “Producer’s Showcase” program that was the creation of broadcast pioneer Sylvester (Pat) Weaver. It shouldn’t be such a difficult task to guess as to who his famous daughter is and her various accomplishments in show business!{font}
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{font:Arial}Looking at {font}{font:Arial}Marshall{font}{font:Arial}’s long and distinguished career, it’s hard to believe he lost a leg during his active service in World War One! Even to this day, many fans have no idea of just how successful he hid his disability. This was an actor who did it all! Without any doubt, {font}{font:Arial}Marshall{font}{font:Arial} was one of the most popular actor’s of his era. His love of the profession was legendary and garnered him so much respect. As he aged, it didn’t matter to him to end up becoming a character actor. He was always in demand, right up to the time of his death that in so many ways saddened the motion picture community on the day he passed on.{font}
{font:Arial}My favorite film of his is one that has been most underrated, “The Moon and Sixpence.” His beautiful narration and stellar performance was absorbing and displayed a skillful, provocative urbane style that few actors could have matched! And then, there’s that haunting and intriguing voice of his that is so recognizable. I had the wonderful and rare pleasure of having met him once and as far as I could tell during that one encounter, he was just like the some of the delightful, elegant characters he played on screen. After my meeting him, I left with a confidence and a firm belief that he was rather special, wonderful and somebody whom I could admire without any disappointment! They just don’t come around like him very often. {font}
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> {quote:title=Swithin . . .}{quote}
{font:Arial}Well, I also feel very sad about what was done. While the good Sister has her cause to consider and is being somewhat abandoned by the religious, administrative order of the situation, it’s come to the simple issue of using her past clout of fame. Had there been no need for this, Sister Dolores and the abbey would have remained out of the spotlight. My contention towards this matter is the point out the underlying reason for what is in some respects a last ditch, desperate plea for help. Of course, the idea of the film she appeared in is for a good cause and this doesn’t really mean anything so inappropriate. It’s just that for the longest time, she preferred a life of seclusion within the abbey, refusing to address anything relating to her past days as a film star. Even when a man appeared, proclaiming to be her son, by way of a secret love affair with Elvis, Sister Dolores remained steadfast in not making any public statements and ignored the media and its request to have her speak out over various claims about her past. Time and circumstance would have to change this attitude, once it became apparent, she would have a means to take advantage of her past and perform a deed towards what she believes to be a righteous position. It just goes to show that when the chips are down, it’s relevant to make the best possible move one has at their disposal. {font}
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> {quote:title=mr6666 . . .}{quote}
I'm reminded of what Ethel Merman once said: "When you've been there and had a good taste of it, show business gets into your blood and there's no getting away from it!" B-)
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{font:Arial}There was also the underlying issue of keeping the Broadway musical on a level of originality. It was decided not to stray away from two new songs that were wonderful and had their place within the framework of the storyline. Besides “The Music that Makes Me Dance,” being cut from the film, so was “Who Are You Now?” Both these musical numbers pretty much were a stand-in for “My Man," during the stage show's run. By the time of the film version in 1969, the real Fanny Brice classic tune was appropriate to now have a strong effect at the finale of the musical, as well as to cut down on the running time that before the motion picture was edited, ran nearly four hours! There were other original scenes cut from the film that many film buffs have wondered about. As of now, none of this lost footage has been found or recovered. {font}
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{font:Arial}Here’s a tidbit for consideration: Whitney only appeared in 3 major films and died after completing her fourth one. Exactly as James Dean that in the following years, after his death was designated an icon to his generation of fans. Certainly, Whitney fits the bill for her generation of devotees and her record sales prove this point. Despite not having a big film career, she will in time, come to symbolize the elements of talent and tragedy that go both hand in hand to creating a legend. We can expect in the coming years, if not months, plans for a film about her life and everything else therein that comes with being famous. I believe the real fuss about Whitney has this underlying feeling that her potential was never really met as a motion picture star and her glory as a major singing star was in some ways short lived. {font}
Edited by: MovieProfessor on Feb 22, 2012 4:20 PM
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OR, a new "Sister Act" . . .
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The underlying issue to this sitatuon of the documentary film and her appearance on "Oscar" night is a means for Sister Hart to raise money on behalf of her depleted, struggling abbey. This is why she has in the past several years come out from under her seclusion, while the abbey has suffered from a lack of financial support. Well, there simply isn't any better way to raise money, than by somebody who was once a part of show business! This sort of big publicity, garnered at an event that's one of the biggest, most watched, world wide is too good for a cause to pass up! B-)
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{font:Arial}O’Rielly was way off base in the comments he made on Fox News, blaming those who were around {font}{font:Arial}Houston{font}{font:Arial} for her troubles on the evening she passed away. O’Rielly fiercely believes, the entertainment community, be it music, motion pictures or television, refuses to accept the perils and pitfalls of recreational drugs and prescribed medications that at times are abused. The comments O’Rielly made, pertaining to a lack of advocacy towards an anti-drug platform within the show business community has been a problem that can’t be so easily preached upon or settled. This situation has been going on for so long and will probably never find any sort of logical resolution, trapped in a never ending cycle of those you will and those who won’t. What O’Rielly fails to address or understand is that there will always be a set group of individuals who will fall from grace and never be able to find a decent pathway and tranquility to their lives. It’s a crap shoot. Nobody is ever safe from the allure and bright lights of fame and fortune. No matter how much O'Rielly wants to point fingers or condemn somebody for the reckless death of a beloved celebrity, it will in the end come to a series of choices that doomed celebrity made.{font}
{font:Arial}I’m very surprised at O’Rielly, crying out so harshly over the death of Huston, given some of the problems he’s had to face, amid charges of past sexual harassment and financial discrepancies. Certainly he isn’t of a puritan state of mind. No matter how much he may want to proclaim the unhealthy sagacity of a few, it doesn’t mean that within the majority, there isn't a means of finding his or her outlet to an astuteness that will save both their life and career. The only issue that he addressed that made any sense to me was in signifying the lack of a pursuit among the majority to campaign against those destabilizing factors that took the life of Whitney Huston. This is where the real problem lays, in a sense of no means to a standard, preventive method to warn and perhaps save somebody from understanding what really counts and get them away from the hazardous decisions that will eventually stop them, dead in their tracks. Huston did say in a published interview: I'm my own worst enemy." Tragically, that statement has come to pass. {font}
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> . . . Shatner still have his real hair?
Well, if you want to really get up close and check him out, he's currently appearing "live" on Broadway in a one man show, "*Shatner's World: We All Just Live in It*.” Starting at around 6:30 in the evening, you can occasionally see a few Trekkies standing around the Music Box Theater, hoping to catch a glimpsed of their idol "Captain James T. Kirk" arrive!
> Mr6666 . . .
Well, Howdy there! Yep, that's our pretty little gal from good old Bugtussle, Tennessee.
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I just remembered an interesting thing about "The Hungry Glass," in that actress Donna Douglas appears as the phantom lady of the mirror. Do you remember her and what was her final call to fame? B-)
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How about "The Purple Room" and "The Cheaters."
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{font:Arial}Your request can be next to impossible to achieve. The reason for this is due to a majority of patterns for motion picture costumes weren’t always so easily available for sale on the open market. The best and most noted designers in {font}{font:Arial}Hollywood{font}{font:Arial} did at times offer their costume creations to the average consumer, but this was usually on a limited basis. Unlike today, years ago, any woman could walk into a Woolworth’s or Sears and find a few costume patterns from a major motion picture being sold. These patterns were argumentatively altered to some affect, meaning that the layout was never as precise as for the original design. Any sales of designer’s patterns, only occurred, if the star of the motion picture was considered glamorous and had a large following of fans. Naturally, the sale of a motion picture designer’s garments was considered part of the promotion of a major film. This situation resulted in a small handful of designer’s becoming famous and they had their own shops in and around {font}{font:Arial}Hollywood{font}{font:Arial} and separate contracts were made with major retailers, where a copy of a garment could be purchased. The most celebrated of these Hollywood designers were Edith Head, Adrian, Travis Banton, Milo Anderson, Rene Hubert; Irene (Lentz), Orry-Kelly, Adele Palmer, Walter Plunkett, Edward Stevenson, Bill Thomas, Bill Travilla (whom I knew), Vera West, and Jean Louis (who my mother worked for!) All of these designers had patterns of their gowns for sale and copies of their various works available either at their own stores or at a major retailer. The same could be said for the European market and the various known designers there. Dawson did have for a time, her own line of dresses available for sale in London. The problem with any gown designed by Beatrice Dawson is that she did not have such a huge following, at least in {font}{font:Arial}America{font}{font:Arial}. Although, I’m prone to feel that “Pandora and The Flying Dutchman” is her finest work, she is probably best remembered for “The Prince and The Showgirl” and her frantic association with Marilyn Monroe. A replica of {font}{font:Arial}Dawson{font}{font:Arial}’s work from that film can be seen in the current title, “My Week with Marilyn.”{font}
{font:Arial}Today, patterns of motion picture garments available for consumers are few and when they do appear, they have a tendency of going out of circulation fast. Only those classic or popular designs from the past are the ones that continue to have constant sales. In {font}{font:Arial}Dawson{font}{font:Arial}’s case, the search for her garments, have two possibilities. The first is to try and track down an old copy of an English periodical from the time of the film’s release. This could take a considerable amount of consuming effort, because you would be looking for any ads of a store offering either a pattern or a copy of the gown. This sort of research, while painstakingly long would reveal, if there was anything available during that time. Also, check out some film libraries that might have “press-books” or publicity information about the movie. This could also lead to the point of whether or not any consumer items from a film were being offered. You might want to risk taking more time, by going to a big library, checking old major newspapers here in {font}{font:Arial}America{font}{font:Arial}, of the time “Pandora and The Flying Dutchman” premiered. Second, there are dress designers that collect patterns from times past. Your best bet is to surf the web, leave messages and see if anyone can help. These current expert designers can have the necessary means of directing you to the proper area. However, in most cases, a dressmaker will want to make a full recreation of the garment themselves for sale and not deal with the sale of a possible pattern. The plain and simple realization here is that you are dealing with a designer that wasn’t exactly so well known or popular in the {font}{font:Arial}U.S.{font}{font:Arial} If anything can solved this situation, it would have to be contact with someone in {font}{font:Arial}Britain{font}{font:Arial}. We have numerous members on the site from {font}{font:Arial}England{font}{font:Arial}. So, just maybe, one of them might stumble upon this thread and be able to help you out! I sincerely hope you find the pattern, because “Pandora and The Flying Dutchman” is one of my all time favorite films! And, my favorite gown of the movie is the most famous one, the stark black one, lined with flesh colored stripes and a white bouquet at the waist! Ava was never more beautiful than in that motion picture. {font}
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Even before Whitney's last movie is to be released, projections have it that the soundtrack album of "Sparkle" will set a record in sales. In death, she may end up the biggest selling, posthumous female singing artist. There can be no doubt, the film will be the most anticipated summer block-buster of the year! Already, the word of mouth is quite positive about the film. Due to Whitney's death, the film is now undergoing a few changes and additions for its August release. Those first early screenings of the film will be the hottest ticket in town. We can expect who the film will be dedicated to.
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> {quote:title=Sepiatone you mention: . . .}{quote} most folks I know never even HEARD of Conway Twitty until his country singing career started taking off.
Well, at least for that first generation of Rock & Roll fans, Conway was famous, for about six years. He made regular appearances on various television shows to give him about as good exposure as most of the other Rock & Roll stars of the era. Conway seemed to have a bit of trouble throughout his entire career. Despite his never really achieving super-stardom or a long lasting career in Rock Music, his success during his Country Music days was marred by bad investments, lawsuits and tax evasion. With Conway, it was sometimes he was up and other times he found himself down and out. His whole music career was something of a struggle that regardless of any notoriety and fortunes made, he never was without an abundance of controversy.
> {quote:title=And . . . You ask:}{quote}
> And do me a favor? PLEASE don't call "Viva Las Vegas" or ANY movie Elvis did once out of the Army a "Rock Musical"! "Viva Las Vegas" is NOT Rock'n'Roll. "Blue Hawaii" is NOT Rock'n'Roll. "Kissin' Cousins" is NOT Rock'n'Roll!
I have to concede on that point. I guess I'm too caught up in what he once came to represent, only to later on lose it all in a bevy of mostly low-rated materials and film projects. You're right, these crop of films he made after his stint in the Army had nothing to really do with Rock & Roll music. They were just, routinely produced studio musicals.
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> {quote:title=finance . . .}{quote}
{font:Arial}You are absolutely correct! The character of “Conrad Birdie” was mainly based upon the real life of Rock & Roll singer, the late Conway Twitty. Of course, the background of the character’s induction into the armed forces was the only connection to Elvis. The rest of the “Conrad Birdie” character was definitely Twitty. Certainly, if one knows of Twitty’s early career and imagery, it all fits the bill. Twitty had a somewhat arrogant personality off stage and while he was on all counts a good performer, it wasn’t so easy to deal with his ego. Some say he was just “doing his thing” of trying to be overly “cool” and create an image that was hip than most and one that fans would remember. When his career declined, due in large part to the British Rock Music invasion of the 1960’s, he turned to revamping his career as a County/Western singer. The changed really worked in his favor. He became as big, if not, a bigger star in the switch of leaving behind his Rock Music persona. Still, at various times, there continued a crossover to Rock tunes as part of his overall repertory. This was probably expected and would keep him popular, right up to the time of his death in 1993. Before his death, he gave a television network interview and it was during that session, he admitted openly that the “Conrad Birdie” character and he were connected in certain ways to how his career in Rock Music unfolded. Throughout his career, Twitty never gave any mention of Elvis towards any possible influence. It was believed his influences were “The Big Bopper,” Gene Vincent and the great Eddie Cochran. Most of the time, a majority of singers just didn’t want to feel they owed anything to Elvis. This attitude was in a technical way a means of attempting to show one’s own style of originality. Yet, upon merely checking a singer out, it simply didn’t work or fool anybody; meaning nearly all successful solo Rock & Roll singers were perceived to have some connection to the King of Rock & Roll. So, for that early period in the history of pop music, Elvis would always remain the central starting point for a vast majority of fans and all others to follow.{font}
{font:Arial}In speaking of Elvis and his imagery, there is no real logistical connection in terms of the personality of “Conrad Birdie. Elvis simply didn’t act or speak like the character in the musical, but Twitty is reliably close to what composers Charles Strouse and Lee Adams, together with what script writer Michael Stewart had in mind for the musical. When the show was about to open on Broadway, Twitty made it publicly known he wasn’t so pleased about the spreading rumors that “Conrad Birdie” was based upon him. This easily came about, due to the similarities of the names, as much as the imagery projected about the character in the show. Twitty likely feared a bit of ridicule to his career. Only the few fans or those who knew something of the whole Twitty emanation of his style realized for sure, who the character in the musical came close to symbolizing. Once the show became a huge hit, the somewhat hostile attitude towards the musical changed and then Twitty got on board what world wind of success he could ride from the musical. He was at one point even asked if he might consider playing the “Conrad Birdie” role with one of the touring companies! He refused any offers and wisely this worked in his favor, once he left his Rock & Roll roots behind to pursue a different sort of career in the Country/Western music field.{font}
{font:Arial}It might be so easy to feel that Elvis could have played the role for the film. But this is without question a very stupid and illogical idea. By 1963, he was one of the top ten stars, making one million dollars a picture. The role of “Conrad Birdie” was a secondary one and doesn’t appear until about midway into the storyline. If by any remote chance Elvis would have been in the film, the whole concept of the character, as well as the entire storyline would have to have been totally changed!! So, the logistics for Elvis simply don’t equate with considering him to be in the movie, playing a role that has some similarity to who he was in real life. Amazingly, the following year, Ann-Margret, who was one of the stars of “Bye Bye Bride,” would end up appearing opposite Elvis in the highly successful Rock Musical, “Viva Las Vegas.” No doubt, Ann and Elvis must have joked about “Bye Bye Bride.” Also, in another striking point pertaining to"Viva Las Vegas" is the film being directed by George Sidney, the director of "Bye Bye Bride!" Rumor had it that Sidney was in love with Margret and wanting to guide her career. This led to a now well known controversy of Sidney during filming focusing more attention on his lovely protege than Elvis. It wasn't until Colonel Parker stepped in and demanded a change in the director's format. Later on, Elvis and Margret would be alleged to having had their own love affair. Whatever the case, Elvis and Margret remained close friends, right up until the time of The King's tragic death. {font}
{font:Arial}There is one very striking issue in “Bye Bye Bride” that I believe needs clarification. This has to do with the now famous golden motorcycle suit worn in by “Conrad Birdie.” During the period of the Broadway show and then three years later when the film version was released, Elvis never wore an outfit as flashy as seen in the musical; he still had another four years to go before we would see him in some outrageous attire! The reason for the outlandish jump-suit is because “Conrad Birdie” lives, eats and sleeps by his bike! It was never intended to be seen as a performing costume. While the golden jump-suit is the signature piece that presents the character, its origins emerge from the whole issue of his beloved motorcycle. Even Twitty has no connection to this ornate outfit worn in the musical. It’s about the only original aspect to the character created specifically for the musical. Yet, some historians do believe that the “Conrad Birdie” hubbub of his jumpsuit, might have led to what we would later see among some of the Rock stars of the late 1960’s, including Elvis. However, in the case of Elvis, he didn’t start to wear his own flashy clothing, until around 1970, during his now world famous live tours and especially in {font}{font:Arial}Las Vegas{font}{font:Arial}, where this issue actually all began for him!{font}
{font:Arial}How Elvis came to wear his gaudy, cape ridden costumes were from a most unlikely source! It began one evening, while Elvis was on tour performing in Vegas and he decided to take a spin around town. With his entourage, Elvis came upon the small singing act of Wayne Cochran, who was just getting his music career underway. Cochran is best remembered for two appearances. The first was on the Saturday night, live telecast of the “Jackie Gleason Show.” Jackie introduced Cochran to a national audience; it was the biggest break Cochran would ever have! His act was more or less patterned from the explosive James Brown. Cochran even copied the spins, whirls and shuffling of Brown, making him appear as a Caucasian version of the mighty African American legendary performer. The second major occurrence for Cochran came, when he appeared, as himself, with his singing group in the now cult favorite movie “CC Rider,” that starred football player Joe Namath and once again Ann-Margret.{font}
{font:Arial}When Elvis caught Cochran’s act, he was more impressed by the wild and elaborate outfits Cochran shrouded himself in. This was especially the case with the various rhinestone capes that adorned Cochran. Elvis was said to have been looking for a possible new image he might consider and in no time, Cochran and The King became good friends, during there sprint in Vegas. The biggest surprise of all about how Cochran helped reshaped the image of Elvis occurred, when The King asked him on that first meeting, “Man, who does your gear?” Cochran looked at The King and replied with a sly smile, “I do it all myself . . . I don’t have a wardrobe manger.” It was then Cochran revealed to The King his little secret of having gone to such places as “Woolworth’s,” “Sears,” “J.C, Penny” and the smallest of places on the outskirts of Vegas, where he found items easy enough to make them seem so dazzling. During their first meeting in Cochran’s cramped back-stage dressing room, Cochran gave Elvis a white belt he had purchased at a local discount store! This belt ended up being worn by Elvis for many years. The white belt of Wayne Cochran had led the way for a whole new maker-over of Elvis and his notorious Vegas era began in a big spangled way. In no time, Elvis would have the best stylists available to take heed to what he wanted from the foundation laid down by Cochran to him. The reason why I can tell of this story is because I know Wayne Cochran and today he is a minister of a church in {font}{font:Arial}South Florida{font}{font:Arial}. He and I go way back to those days when he made good in {font}{font:Arial}Miami Beach{font}{font:Arial}, to later head out on a quest to possible stardom that unfortunately wouldn’t happen. However, {font}{font:Arial}Wayne{font}{font:Arial} is proud of having had a close liaison with The King of Rock and Roll. In his office, are pictures and scrapbooks of his career and Elvis is very much part of his collection. {font}{font:Arial}Wayne{font}{font:Arial} also hangs in his office, the same white belt he first gave to Elvis. It was obviously a replacement for the one he gave away. It’s a bit worn for wear and a few of the rhinestones are missing. The belt is so symbolic of something special to a chance meeting that changed the course of Elvis Presley’s career. Now that’s something Wayne Cochran (who most of you probably never heard of) can be so proud of having achieved. And, that’s how it goes in my old world show business . . . {font}
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{font:Arial}Many fans don’t know that Whitney Houston’s signature song, “I Will Always Love You” was in fact, already a hit tune, written and introduced by Country Singing superstar Dolly Parton in 1974. The song hit at number one on the Country Music charts. Considered one of Parton’s best tunes, it was greatly admired by none other than Elvis! His grand majesty of Rock Music wanted to record his own cover version. He contacted Dolly to cut a deal. Lurking in the shadows was manager to Elvis, Colonel Tom Parker. Before anything could be finalized, Parker had insisted that Elvis must have 50 percent of the publishing rights to the song. Dolly had come a very long way in the music industry, struggling to make a success for herself. Upon becoming a major singing star, she refused to relinquish any control of what she fought so long and hard to establish. Many in the music business hearing about the situation, advised her to reconsider her refusal to the King of Rock and Roll. After all, Elvis was a living legend and a recording by him would mean added notoriety for Dolly. Her decision to not give up control of the song was for the longest time, one of the most earth shattering experiences of her career. {font}
{font:Arial}There was one issue that has remained rather unfamiliar about “I Will Always Love You” in that Dolly never considered it a romantically written tune. It was composed as a sentimental gesture, in reference to Dolly having broken her ties with Country Music legend, Porter Wagoner, who was her mentor and launched Dolly to stardom. She had been under contract to Wagoner for seven years and when she broke away from Wagoner’s authority, there was a bitter lawsuit, with claims of rights to songs and other issues relating to a percentage of money owed. Dolly would in time, settle her dispute with the one man she always would credit with having discovered her abilities and gave her the break she needed to get into the music industry. While most won’t actually rate Dolly so great a singer, she is without question, one of the finest composers of the Country Music genre, barring none! Her immense output of songs is in many ways, part of her legend.{font}
{font:Arial}Then, something extraordinary occurred in 1982. This was the period Dolly was breaking into motion pictures. She had already made a big splash in the comedy “9 to 5” two years earlier. Next in line, would be a big musical film version of the Broadway show, “The Best Little Whorehouse in {font}{font:Arial}Texas{font}{font:Arial}.” Throughout her career in films, Dolly has it stipulated in her contract that she is given the option to write a song for the movie she appears in; this usually means the movie’s theme or title tune. Although, the 1982 musical already had original songs, Dolly banked on a revamp of “I Will Always Love You” for her to sing in the movie. The new version was then turned into a single that when released, hit at number one on the Country Music charts! This turned out to be a momentous event in the history of the music industry, because it was the very first time, a song that was originally written and performed by the same person, hit up at number one a second time on the music charts! This was truly remarkable as well as a feat that has for the longest time not been publicized much.{font}
{font:Arial}Comes 1992 and the film “The Bodyguard,” well Dolly as of now has what some believe a record (in this case a ranking!) that will probably never be broken!! The Whitney Houston version of “I Will Always Love You,” gave Dolly her third time up at number one on the charts! This meant for the very first time, a 3rd ranking at number one of a song by the same composer! Dolly is also the only composer to have had the same song, crossover from Country Music to the Pop Music charts at number one! However you want to view the situation, it is for the record (no pun intended!) astounding and Dolly considers it her finest of achievements. She also has always given much admiration to Whitney’s version of a song that was turned into one of the most popular romantic ballads in the history of American entertainment. Since Whitney’s tremendous success with the song and becoming her signature piece, Dolly has gladly accepted this issue. The strangest of all circumstances about “I Will Always Love You” was that it was never intended to be in or the love theme of “The Bodyguard.” What happened was Whitney was supposed to sing as the theme, another famous song, “What Becomes of The Broken Hearted.” It was then discovered that the song had already appeared in a previous film. It was co-star Kevin Costner, who suggested to Whitney that she hear Linda Ronstadt’s cover version of Dolly’s song. Immediately, Whitney fell in love with the tune. It was then arranged into a romantic “soul” ballad.{font}
{font:Arial}I thought it was very poignant to hear that when Jennifer Hudson sang “I Will Always Love You,” at the Grammy Awards, Dolly was brought to tears and really felt her little song had touched the heart and soul of the world at large. In a sad way of thinking, the song perhaps relates to Whitney’s tragic death, in that we now will have to find it in our hearts to understand her agonies, while we accept her magical talent and voice, filling the air with a harmony that doesn’t come around very often. Whitney is now with the likes of Judy Garland and Billie Holiday, to become a legend to her generation of fans that will keep the flames of her talent alive. Her voice is now one that goes beyond a comparison to others. In the end, it’s Whitney Houston the singer that counts the most and we must hope that she finds ever lasting peace to a soul that while singing kept us inspired, even though there was pain lingering within the splendor of her talent. The pain and sorrow of her life has taken her away from the earth, but the radiance of her talent will live on for all of us.{font}
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> Jake you wrote:
> Your insight on Marilyn Monroe and her travails with the Kennedy's I found to be very, very good. She should have stayed with Joe DiMaggio.
{font:Arial}I have always suspected there was more to Marilyn’s death than what we were led to think or finally accept. Over the years, it now has become quite clear, or at least led towards a feeling her relationship with the Kennedy’s to be far more substantial and excessive. By now, it’s almost accepted by the public that she was a “Kennedy Insider,” brought into the ruckus by the 35th President’s audacious brother in law, Peter Lawford. Then, add Frank Sinatra and his pack of show business chums to this mayhem and you’ve got quite a performance! The problem I’ve always had with Marilyn’s death has to do with the simple fact that about a week before she died, she had been first fired and then rehired by the studio, signing on for a two picture deal, valued at 2 million dollars each! She was *not* in those last days leading up to her death, so depressed or forsaken. Of course, others will always say her death could have been a simple accident, by way of her pill taking and heavy drinking. Yet, even this situation has become questionable, because the records aren’t so apparently informative. On the sidelines, are a bunch of other witnesses and events surrounding her death, adding to a confused atmosphere, forcing many fans to now wonder if she might have been “done in” or silenced. At this stage, it’s all about what each and every individual fan wants to believe and nothing more can ever bring the truth back out from under the spotlight of show business clutter.{font}
{font:Arial}Naturally, this whole Whitney Huston affair continues to shed light onto the routine tragic death of a celebrity; at times this is expected to happen, by way of all the gossip and innuendos one reads or hears about. I imagine in the weeks to come, when we are standing at the checkout counter at the supermarket, the tabloid rack will have its fair share of unconscionable nonsense. But, lurking in the shadows might be some sort of tall-tale or discrepancy, leading us down another path of doubts and suspicions about another beloved, popular performer that the public never seems to get enough of and won’t leave alone. Whitney could in the coming months, fall prey to what I call, Marilyn’s curse. It means a continued exertion of devotion, mixed in with speculation on how the death came about. There is never much of a question on the “Why of It?” It all ends up with too much hearsay and the facts just get tossed around to the point of having no composite proof of anything. So, the beat of show business furor and all its forms of tumult will just continue on.{font}
Stars Who Won the Oscar for Their Best Performance
in General Discussions
Posted
> {quote:title=finance you wrote:
> }{quote}YANKEE DOODLE DANDY was hardly Cagney's best work. He liked it because it gave him one of his few opportunities to dance. How about WHITE HEAT, LOVE ME OR LEAVE ME, THE ROARING TWENTIES, etc., etc.?
I agree with you on the other choices. Jimmy Cagney's win for "Yankee Doodle Dandy" was something of a sentimental affair, reflecting upon the popularity and legacy of George M. Cohan to show business. My choice for Jimmy Cagney winning would have been his performance in "City For Conquest." The entire cast of the film was first rate! I've always taken a fancy to that famous scene, when Jimmy says to Ann Sheridan, asking her to marry him: "All you got to do is Say The Word Peg . . . Just say the word . . ." This motion picture was close to his heart, stemming from his childhood in New York City. It was the type of film he could totally understand its content and characters; probably based on real ones he knew growing up. He also co-produced the movie!