johnm001
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Posts posted by johnm001
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MovieCollectorOH & speedracer5--I agree on "Star Wars" (1977) & have the cd somewhere
speedracer5 & Richard Kimble--saw "The Empire Strikes Back" (1980) on original release, not since.
hamradio --good theme. Now if we could only end the Bomba films & show an episode or two of Rawhide instead.
Richard Kimble--thanks for finding out where TCM showed Rawhide.
johnm001--"North by Northwest" is one of my favorite scores. Very memorable.
Sepiatone--John Williams score for "The Cowboys" (1972) was the best thing about the film, IMO. "Arlington Road" (1999) is another film I need to see.
cigarjoe--Alwyn's score for "Odd Man Out" (1947) is wonderful. Have seen film twice--hope TCM will show it this summer.
johnm001--Was scared off "The Fury" (1978) by the reviews. Is score on Compact Disc?
Yes, on disc. I like most De Palma films. Also, he's a great director for film composers, because so many of his films feature very long sequences, without dialog.
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I agree with you about Herrmann. The point of my post wasn't who wrote the best score, it has to do with a memorable one. When I saw NORTH BY NORTHWEST, it was a memorable experience, because it was the first time I really noticed a film's score. Remember, this is the summer of 1959, not in retrospect, years later. My favorite film composer is Jerry Goldsmith, who I believe composed the most versatile and perfect scores, ever. My favorite work of John Williams, remains his score for the television series, LOST IN SPACE. The only film score of his that I find, perfect, is THE FURY. Naturally, he has written some iconic themes, most I can take or leave, but his overall great score, for me, is THE FURY. However, I like many film scores by a lot of composers. I hate films that are dominated by songs, rather than an orchestral score. In fact, I can barely watch them (e.g., SLEEPLESS IN SEATLE). That is, unless, the songs are germane to the film (e.g., AMERICAN GRAFFITI)
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I love IN THE GOOD OLD SUMMERTIME. It is my favorite film version of that story. I am not an avid Judy fan, and find her to be a better actress than singer. Oddly, I saw her in concert, twice. The first time was the famous Carnegie Hall concert, although I saw it a week later at Philadelphia's Academy of Music, The next time I saw her, was at her last US concert (although no one knew it would be her last, at the time). Though the first concert was a more polished, showy affair, the last one was much more special. She appeared as the headliner of a concert that included Jackie Wilson, Count Basie and his Orchestra (who also accompanied Judy); and, The New York Electronic String Ensemble. It was presented in the cavernous Municipal Stadium in Philadelphia, which by the time was called JFK Stadium. Just before she appeared to do her set and close the show, a few of us, unplanned, went all the way down to the foot of the runway that was erected for the concert (and, especially for her, as no one else used it). We were, litterally at her feet. She came out did her opening number, then told us about the dress she was wearing, which was red; and how proud that she had made it, herself. Then, she just started to speak to us, as if we were sitting her in living room. One of us would answer, then she'd say something else, then do another number. I remember after so many songs, saying to her, "So, no Over the Rainbow?" and she looked me straight in the eyes and said, "Oh, honey, we ALWAYS get to that one!" In that enormous stadium that easily sat 100,000 people, we had the most initimate time with Judy Garland. All these years later, it still seems so surreal, and very special.
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I suppose I actually do have an entry for this. The mention of Bernard Herrmann's incredible score for THE 7TH VOYAGE OF SINBAD, reminded me that, I became a fan of film scores because of Herrmann's score for NORTH BY NORTHWEST. When that was in theaters, I just sat up and took notice to it's great score. So much so, that I went back to see it, 2 more times, just to hear it, again. From that point forward, I really paid attention to film scores. I remember being very frustrated at not finding a soundtrack album for it, and was thrilled to get, at least the main title, on a reel-to-reel, years later, that featured music suites from Hitchcock/Herrmann films. Prior to home video, I would get so excited when it aired on television, mostly, so I could hear the score. So, that definitely made the film, memorable, to me. It remains my favorite Herrmann score.
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Does this include NETWORK?
Or is it you DIDN'T like it?
Sepiatone
Oh, nothing can help that one, for me!
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Julie Andrews
Anne Bancroft
Barbara Stanwyck
If expanded, I would include:
Rosalind Russell
Olivia de Havilland
Eleanor Parker
Susan Hayward
Kathy Bates
Angela Lansbury
Doris Day
Vera Miles
Sophia Loren
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There are a few things wrong with that article. However, the biggest issue with MAME, is Lucy simply plays the role as 100% charmless. Not only that, but the script insists that when Vera fires off a glib line, Mame has to one up her, making her seem mean, at times. Never mind, that she's utterly incapable of singing or dancing the role. Another, in a long line of Hollywood adaptations of Broadway musicals, that is inept. You would think that by the time they made MAME, Warner's would have learned from their past casting mistakes.
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I think this is a great topic, yet I cannot think of a single film where, sans score, I wouldn't think was still memorable. I can think of scores I love from films I hate (e.g. VERTIGO), and films I love where the lousy score undermines it (e.g., THE ODESSA FILE); but, not a single example of this topic. Enjoying reading everyone's choices, though.
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As I am now a senior citizen, I realize just how lucky I am to have seen so many great Broadway shows (either, actually on Broadway or in Philadelphia on their way). Having seen so many, I really cannot think of a person that I didn't see that I wished I had seen. Maybe the original THE MATCHMAKER with Ruth Gordon? I am old enough to have seen it, I just didn't see it. Probably a Ziegfed Follies show, would be cool.
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Made for television films, are the true lost films, these days. There are so many, and so few find their way to home video or repeated airings. I'm surprised one of the myriad channels that have appeared since digital television, that feature old television shows, hasn't started to air them as part of their rotation. However, there is simply no reason why TCM should limited their catalog of films to theatrical films. Movies are movies, regardless of the intended venue. The first one that came to mind when I read this thread's topic, was WOMEN IN CHAINS, with Ida Lupino, Lois Nettleton and Jessica Walter.
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Also a huge fan of the quirky Twilight Zone-esque Stephen Sondheim musical EVENING PRIMROSE with Tony Perkins and Charmian Carr
Which aired in color, originally. Too bad they can't seem to find a color print of it.
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I detest this film's score; and film scores are my favorite genre of music. It just annoys, constantly, and keeps me from ever getting involved in the story. I can barely tell you the plot of this film, and I've tried watching it, about 30 times throughout my lifetime. The music prevents me from engaging, every time. Even THE ODESSA FILE, which also has one of the worst scores ever written, is better than it; and that's saying something.
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Wonderfully entertaining film. Warner's answer to ANNIE GET YOUR GUN, only far better.
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Without peer, is the title sequence to BREAKFAST AT TIFFANY'S. In fact, for me, it is the film's finest moment. The desolate shot up 5th Avenue, iconic image of Hepburn with her coffee and doughnut, and the greatest arrangement ever done of the film's main theme music, Simply the best!
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I was definitely a Ginger man (boy) in the Ginger vs. Mary Ann debacle. Of course Dawn Wells was cute, with a sexy body. But Ginger's glamor (or something) did wonders for me growing up. Too bad Tina Louise wasn't able to parlay that gig into a bigger movie career afterwards. She might've got.caught in the shift from the 50s sexpots (GG wax nothing if not MM with red hair) to the more down to earth late 60s free love free spirits.l
In my fantasy, I never subscribed to the Ginger OR Mary Ann debate.
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This is an interesting topic, because I rarely watch a film and want to recast it. I, often, watch films I wish were either directed by someone else, or scored by someone else, or written or produced by someone else. This one will take a lot of thought.
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Right. Or, in other words, why I don't think the film is overrated.
Except this thread isn't What Classic Film Do You Think Is Not Overrated?
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And yet, the complete opposite is the case concerning Rex Harrison's singing in My Fair Lady. For reasons you mention, he absolutely refused to lip-sync, stating he never sang a song the same way twice - it wouldn't work.. even if he lip-sync'd his own performance. A mini microphone was created and inserted in his tie(s) which captured his live performances on film.
Barbra Streisand has complained about synching to her own voice. She's really horrible at it, and it shows. By the time she did A STAR IS BORN, she sang live.
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While I agree with what you're saying here, but I'm not sure how to take in that last sentence. To me it is saying that in the 'old days' since the fraud of lip singing was pulled off with such style and nobody knew it was talking place that this was magic. Put this way it just doesn't sound right, but the funny things is there is truth there as well!
But I know how you feel about the movie My Fair Lady and to me this is a case where there was little to no magic when Audrey is lip singing. I wish I had the memory of a live Andrews performance!
Yes, nobody knew how everything was done, like today, so the movies were magic. Nodbody cared if somebody was dubbing someone else, because they didn't know about it. MY FAIR LADY was really the first time people cared. Even with THE KING AND I, Kerr's dubbing was known and people, mostly, didn't care (there were those that believed Maureen O'Hara should have played and sung the role of Anna, even then), because while it was a hit show, it wasn't iconic, in the way MFL was. The stars, particularly Andrews, appeared on all the popular variety shows of the day, and the record album was the biggest-selling album of all-time, any genre, so the one thing that everybody knew, was Julie Andrews as Eliza, VOCALLY. So to not cast her was one thing, but to cast somebody who couldn't sing the material, was met with tremendous backlash. It was THE topic of the day., for quite a long time, while the film was being made. The film was still successful (mostly due to its name recognition), but it wasn't nearly as successful as Warner had predicted it would be, or it should have been. He predicted the Number 1 show of all-time would become the Number 1 film of all-time. It wasn't even the Number 1 film of 1964. Today, people do care, and I don't believe you can get away with dubbing. Besides, so may mediocre singers today, are declared "AMAZING", that it almost doesn't matter whether you can sing or not. For the record, as bad in the acting, as I think Hepburn is in the role of Eliza (and that's pretty bad), I think she is horribly let down by her director (despite his award, he didn't have a clue), and the dubbing. She would have been better served if they had used her own vocals, inadequate as they are. At least it is her own emotion, her own voice. Not once does Marni Nixon's voice sound like it's coming from Audrey Hepburn. For all the money spent, it's just so stupid and jarring. Completely takes you out of the moment of the song.
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Todd-AO was a 70MM format that was intended for the curved screen, as well.
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I would say that most of the highly regarded "classic" films are overrated. There are many underrated films from the same era. However, to keep on topic and answer the OP's questions, I would give a tie to CITIZEN KANE (innovative, but a rather uninteresting, for me, at least, narrative) and SINGIN' IN THE RAIN (certainly the most overrated musical, by a mile). It's entertaining, to be sure, but any film that just rehases old trunk tunes,within a flimsy plot contrivance, with a brick wall of a number that stops the film dead in its tracks, can hardly be describe as great, imo. It's a fun film, with some catchy tunes and great dancing, and highly overrated.
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Actors who lip synch are singing along with the track, not just moving their lips. I think the biggest difference between someone who is synching to their own vocal vs. to another person's vocal, is that the true singer knows how they felt, singing it, and can convey that enotion far more easily than someone who was not doing the singing. That, and with so many people who can sing and act, it's always rather stupid to have to watch someone we know isn't singing. There was a time when nobody knew, so nobody cared.Today, it's different. People know everything. There's not nearly the same magic of the movies, that once was.
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Thank God, whoever tested didn't get the role. I can think of very few actors to roles more perfectly suited (and rendered) than Gordon MacRae's Curly in OKLAHOMA! Perfection.
Name a movie you feel is moved from ok to memorable by its' musical score
in General Discussions
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A sample scene from THE FURY. I think it shows up with an option to sign up for dropbox. Just x out and the video will be there to play/.
https://www.dropbox.com/s/fd0urkm7252u0s9/TF.mp4?dl=0