JamesJazGuitar
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Posts posted by JamesJazGuitar
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22 hours ago, slaytonf said:
Great cover by a great performer. Can't remember what movie it was in. . . .
With regards to I Remember You: Here is what I wrote above: Schertzinger was a director and wrote the song (Tangerine) for his last film The Fleet is In (1941) This is a fine film with Dorthey Lamour, William Holden and introducing Betty Hutton. Schertzinger also wrote the song I Remember You for the film.
Thus Schertzinger wrote two songs that are now jazz standards, Tangerine and I Remember You, while directing his last film The Fleet is In. He died shortly after the release of the film.
Hutton really shines in this film.
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12 hours ago, NoShear said:
Not to downplay the focus here, jamesjazzguitar, but I couldn't help noticing the organ: Dick Hyman!
Yea, Dick Hyman was really big in the music business; Woody Allen loved the guy and used him to score many of his films.
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As for Sinatra; All of the jazz musician I know really enjoy his singing as it relates to his understanding of rhythm. My guitar teacher told me to listen to how Sinatra sings the melody and try to do something similar when playing the melody on guitar. I.e. the advise was play along to Frank or play along to Dexter Gordon!
Here is what I feel is one of the best interpretations of a song by a singer - The Cole Porter song, I Got You Under My Skin;
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Here is I Remember You done by Chet Baker.
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Tangerine is a song written by Victor Schertzinger, the lyrics by Johnny Mercer.[1] Schertzinger was a director and wrote the song for his last film The Fleet is In (1941) This is a fine film with Dorthey Lamour, William Holden and introducing Betty Hutton. Schertzinger also wrote the song I Remember You for the film.
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I love the song Check to Check and was glad to see the song got some attention after Lady Gaga and Tony Bennett recorded it.
Here is a version from Mundell Lowe; I took a few lessons from him. Very nice man.
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44 minutes ago, Eucalpytus P. Millstone said:
Regarding top billing:
"Asked why he always received top billing above [Katherine] Hepburn, [Spencer] Tracy said: 'Because this is a movie, chowderhead, not a lifeboat.' " -- Double Act: Katherine Hepburn & Spencer Tracy
Tracy and Bogart never made a movie together because neither could agree on how the credits would be displayed. There was talk that Tracy would star with Bogie in The Desperate Hours, but that didn't occur due to this top-billing issue and Fredric March was signed instead (with Bogie getting top billing).
Bacall covers this in her book, By Myself. Early in their marriage Bacall had Tracy and Hepburn over for dinner. Bacall was star struck the entire evening.
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25 minutes ago, Eucalpytus P. Millstone said:
Interesting poster design. Karloff gets top billing. But Lugosi's image appears above Karloff's. Difficult to tell whose agent had more clout with Universal.
I wonder why Lugosi is green. Green with envy for Karloff getting top-billing on the poster?
I don't recall how the actual opening credits are for the film and if Karloff also received top-billing there or if they had side-by-side type billing (so no one gets top-billing).
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2 hours ago, Judith laucka said:
I’m fascinated by the 1930s movie And The Rains Came. Tyrone took second billing behind Myrna Loy. Surprisingly there isn’t even a kiss in that movie barely a hug. I guess that was not allowed back then. However they carry it off with a lot of suggestive comments. The relationship between the Brent character and the teenage girl was allowed but I found that somewhat shocking. Myrna in her memoir said she was taken w Tyrone and was open to a romance but he was under the thumb of his French wife (stated jokingly). The most amazing part of that film was the unbelievable special effects long before computer generated ones.
Kissing between a married woman and her suiter did occur and wasn't a violation of the Code. But kissing or too much sexual type behavior between people of two different races was forbidden. That is the reason there isn't a kiss between the Power and Loy characters in this fine film.
My favorite George Brent performance; I.e. he gets to shine in this film instead of just being a second banana to the female lead like he is in the Warner Davis films etc...
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4 minutes ago, NostalgicNautilus said:
The Day The Earth Stood Still (1951)
As you'll catch me saying a lot around here...Why haven't I seen this one before? Or, better yet, I still have a lot of catching up to do.
Watched this one with my wife as it was a TCM Wine Club pairing. We both thoroughly enjoyed it...Was a blast. The interactions between Bobby and Klaatu were fun and memorable.
Latter on Bobby would change his name to Bud and tell his father; actually dad, Klaatu, knows best.
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49 minutes ago, SansFin said:
Those were the movies which I meant in the mention of others being in the same genre.
I felt that the 1941 movie had so few distinguishing characteristics from a stock murder mystery that it did not bear listing separately.
I feel that any mention of the 1964 movie in conjunction with decent movies is quite inappropriate.
But I suspect the Peter Sellers, A Shot in the Dark is the most well known by those at this forum. (I don't like it either but I have found it (that series of Clouseau films) to be popular at this site).
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26 minutes ago, Dargo said:
"Peter Townsend"? THIS guy???...
Oh wait! You probably meant "Pete Townshend " of The Who here, didn't ya James...
Nope, sorry, Pete's chin and jawline are a lot weaker than Peter Stomare's is/are. And don't be fooled here with the common receeding hairline either.
(...nope, I'm stickin' with my George Brent...doooh...I mean my Aaron Rodgers thing here, dude!)
Don't worry, I will not be fooled again!
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If there is such a thing as an "afterlife" I would hope by the time I get there I wouldn't give a hoot about such silly, irrelevant nonsense.
(I don't really care now, but, then why I'm I posting at this thread,,,, I must be losing it!).
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13 minutes ago, Dargo said:
And, I have to say that the aforementioned Peter Stomare here...
...is remindin' ME of what Green Bay Packers QB and recent Jeopardy! guest host Aaron Rodgers will look like in about 15 to 20 years from now...
(...c'mon...am I RIGHT or what here, HUH?!)
I see Peter Townsend more so than Aaron.
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Didn't Robert Wagner use Monroe for practice to prepare for Natalie?
I know I read this somewhere,,,,,,
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22 hours ago, Vautrin said:
In an ideal world they wouldn't, but in the real world it's hard to blame a group of people who have
been mistreated for generations feeling various degrees of negativity toward the group of folks who
mistreated them. Hopefully those feelings will continue to lessen. Three rights might make a left or
another right.
What I recommend one does is not group people into such a wide group, especially grouping people who have died years, if not centuries, ago, with those alive today.
I.e. these are artificial group classifications designed to create strawman debates.
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3 hours ago, Allhallowsday said:
I enjoy that movie because of her.
Yea, what got me this time was the transition from "witch" to "human". Her overall screen persona was a good fit for a cold, can't cry, can't fall in love, "witch". In the scenes where she does fall in love, cries, and thus loses her powers and is now "human", the transition was real to me and touching. Hey, it worked on the Steward character (he loved her and no love potion was involved), and it worked on me as well.
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1 hour ago, David Proulx said:
I've always understood "noir" to be referring to a darkness of theme, character, and/or outcome, etc, not blackness in color. The fact that they were in B&W in their heyday is incidental (and irrelevant), because it was the state of the technology for those not wanting to spend the coin for technicolor. These "noir" films were notoriously low budget. It's that simple. I'm not saying that the B&W film doesn't add to the dark mood, but, again, incidental. Had the "noir" film era started 30 years later, the genre might very well have been given the same name, and aptly. One man's opinion.
I find that you're taking this POV too far the other way; for me noir is mainly about the darkness of theme, character and/or outcome but the visual style, as enhanced by B&W photography, is also part of what makes noir, "noir" for me.
When making color films was far less expensive in the 50s director still decided to make such films in B&W because that is the "vibe" they wanted.
Also most noirs from what I call the classic-noir-era, 1941 - 1959, were not low budget films; I.e. most where "A" picture with first rate actors (stars), made by the major studios. Yes, some of the non-major studios like Monogram Pictures, made low budget films but the most of the noirs TCM shows and that Muller features are not low budget films; E.g. films with Bogie, Mitchum, Mature, Andrews, Powell, etc.. were not low budget films.
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1 hour ago, NoShear said:
As he was not limited to "just" jazz backings - going on to session popular stuff, Howard Roberts made a case that he was THE session guitarist of the Americans - with Big Jim Sullivan making a similar case on the other side of the proverbial pond.
I'm fine with labeling Roberts THE session guitarist of his era. He also founded the Guitar Institute of Technology in Hollywood.
I saw Roberts live many times in West Hollywood jazz clubs. It was a common joke among jazz musicians and jazz fans that Roberts would let-his-hair-down in these clubs; I.e. really let loose with his jazz chops since his-day-job was playing a lot of commercial, corny, session music. Roberts was signed by Capital and made a lot of pop-jazz albums. I call these pop-jazz since the songs were mostly pop songs and ran < 3-4 minutes.
Later in his career Roberts put out an album called The Real Howard Roberts; This was straight ahead jazz like the type I saw him play in those clubs.
Roberts was a top notch jazz guitarist but he was also a business man which is rare for jazz musicians.
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5 minutes ago, NoShear said:
Ah...
Possibly Howard Roberts on the "Bell..." soundtrack as well, jamesjazzguitar? (The guitar sounds similar on both recordings.)
My guess is that it is Roberts on the "Bell" soundtrack since it sounds similar (and sounds like him), and Roberts lived within miles of where the film was made and was known to get a lot of such work during the late 50s and into the 60s.
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2 minutes ago, NoShear said:
I tried to (unsuccessfully?) hunt down the jazz guitarist for you, jamesjazzguitar, and am guessing it was Barney Kessel:
It is Howard Roberts on guitar on this 2 for the Money album released in 1959.
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7 minutes ago, Dargo said:
Gotta say here NS, that while Jen has never done that much for me, I DO have to admit she's somehow held onto her looks by far the best of any of her old Friends costars, anyway.
(...it's almost as if she's got some kind'a portrait of herself that she keeps up in her attic)
Jen's youthful look is all due to Aveeno. For being their spokesperson, Jen receives a gallon of the stuff per day!
Courteney Cox had to ration a one quarter bottle for one year.
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17 minutes ago, NoShear said:
Hey, jamesjazzguitar, I thought of you last night with what sounded like some snazzy licks coming out of the Zodiac - go to about 5:56 and listen:
I did watch Bell, Book and Candle last night and the film does have some niffy music; E.g. the trio of two horns and a guitar that played in the club.
I have seen the film before but what impressed me last night was the acting of Kim Novak.
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Noir Alley
in General Discussions
Posted
Rampling is not better than Trevor (few actress of any era can do noir better than Trevor), but that isn't a reason not to watch Farewell, My Lovely.