Dec 15, 2023·edited Dec 15, 2023Liked by Roy Edroso
Being pretty bad at singing hits a little close to home, friend.
But here's one (no lyric this version):
I am overly fond of Samba & bossa nova especially the great decade of the late 50's thru late 60's (at least those years in the US when the wave struck so forcefully). Aquarela do Brasil to this day still kills me with its swing, chord changes, winsome upbeat vibe...and there is one version that haunts me for maybe all the wrong reasons – the tag version in Terry Gilliam's Brazil. It's a minute long, and it slightly overdoes it with the orchestration, but it cut straight thru me when I heard it in theater. Because it is the premier antithetical to the plot. It's almost painful to hear in that context.
Anyway, while looking for something else last week*, I found a link to that recording, opened it, played it and felt the throatlump.
*I think that, as long as I keep following every link-that-I-found-on-the-way-to-another-link I will never die. Like Sara Winchester and her pile of a mansion...
One of the treats of my early "film" (as opposed to "movie")-watching experience was hearing many of my already beloved favorite hits when I first saw Black Orpheus in theater. There they were, straight outta 1959, in all their glory and messiness (and pretty poor pretense of musicianship in some instances).
I should add that the Stan Getz/Charlie Byrd/Joao Gilberto invasion of USian radiowaves was the first* music I ever heard that I adopted as my own, without parental involvement. Oh, I dug all the jazz (especially the old Benny Goodman small groups records) my dad had, and all the show tunes and classical stuff my mom had, but bossa nova was MINE.
*Tied with bluegrass – nobody I knew when I was a kid liked bluegrass.
“Aquarela do Brasil” vs. “Brazil” - the former being the title Brasileiros give the song, while the latter is the title it goes by in its truncated, jazzified version, is absolutely one of the best songs ever written. When I learned the full version from Brazilian bandmates it was a beautiful addition to asong I already loved.
Thanks, Bern! I’m not familiar with this song, and I’m always glad to hear a new tune (even if it was composed in 1934 — I guess I’m not keeping up!). I also listened to Joao Gilberto’s version of it from 1982. Gonna try to find a recording of Noel Rosa’s version from way back when. I would expect it to be a big band arrangement like Pixiguinho might do.
I reckon mine would be "She Drives Me Crazy" by Fine Young Cannibals, used in Tin Men. I saw the movie in theaters when I was in high school, then when I was at Clarkson U and DJing at WTSC (was the call letters if mem serve), got my hands on the record and listened a bunch... Forgot about it but when I watched the movie again in my 30s memories came rising back. Have watched a couple times since. I love that movie and the song is a big part of why. I mean there's a lot else to love about the movie too
“Far from the Road” from True Detective hits a note as it evokes a sense of dread; not different from my thoughts of despair for our country under another Trump term. And it’s sung by the Handsome Family, which might as well be the Manson Family or Trump family. Six of one........
Used as "Local on the Eights" music on the Weather Channel back in the mid-90s. Grabbed me from the beginning. Took me about ten years to find it again.
Cool Hand Luke, there's a musical accompaniment to them shoveling gravel onto a tar road, working as fast as they can to confuse the goons, used as a theme to a local newscast in Chicago when I was growing up and probably by many, many local newscasts. I think I once found what it was, and now I've lost it again.
Goddammit, even though it's not the same piece (also used by Detroit's WXYZ news show back in the '70s), I didn't read comments before I posted and you beat me to it!
Perhaps not exactly what Roy was driving at, but a throw-away snippet of music from an ancient Bugs Bunny cartoon has stuck with me for half a century.
Is it profound? No. Does it carry some special context for me? No. Stir precious memories? Not really. Still, it haunts me in a way, coming unbidden to my inner ear for no reason at random times throughout my life. Such is the inscrutable way of the human brain!
Ha, some old bandmates and I had a thing with "Put on your old grey bonnet with the blue ribbon on it" -- especially when the bear realizes he's been hoodwinked by Bugs on "put on your old grey bonnet with the BLU --" Loony Tunes never misses!
Raymond Scott’s “Powerhouse” will forever play in my mind when Inthink Warner Bros. Cartoon, particularly the middle theme set to machines, mostly running amuck: https://youtu.be/YfDqR4fqIWE?si=JYBD0r61MwlheN58
I have a weird one, and recency bias is at play since I just rewatched it. But I love how director Charles Poekel uses Clara Rockmore's theremin version of "The Swan" in the film Christmas, Again. ICYMI it's a mumblecore Xmas story about a depressed Christmas tree salesman in Greenpoint. I know, how did Hallmark miss this one? For me it's part projection, part nostaliga for a place I loved. When these sadsacks' lives are soundtracked to Rockmore's never-less-than-haunting music their story becomes something less like nostalgia and more like art.
There are two that come to mind right away. I first became aware of Satie’s Gymnopedie No. 1 when it was played at the end of “My Dinner with Andre.” It’s stayed with me since. And I remember hearing Hank Williams singing “Why Don’t You Love Me Like You Used to Do” over the radio in “The Last Picture Show.”
I've seen the first two a dozen times, usually watch them back-to-back, but I've never seen Godfather 3. I've been avoiding it because I heard it was terrible and I don't want it to ruin my impression of the first two. Should I risk it? How terrible could it be? If it's so bad it makes me laugh, that would ruin the whole Godfather mystique for me. Maybe safer to leave it alone, I don't know.
Here's what I think: it's not good. But it shows what Coppola thought about these characters (mainly Michael and the kids) as they aged, and how their corruption streams flowed internationally. Even if infelicitously expressed it makes sense and will interest anyone who loves I and II. (I understand there's a recent director's cut that improves it.) https://alicublog.blogspot.com/2006/07/godfather-iii-good-version.html
Dec 15, 2023·edited Dec 15, 2023Liked by Roy Edroso
Le Ronde, a French film by Max Ophuls, based on a play by Arthur Schnitzler, the guy who wrote the source for Eyes Wide Shut, is an anthology of interconnected stories where a couple meet up, hookup and then move on, one or both characters meeting up and hooking up with different people, with one or both of those characters hooking up with someone else. This goes on through 10 different stories, circling back to the original character to complete the round.
Anton Walbrook serves as the omniscient Master of Ceremonys, starting the round, commenting on the situation and even entering into the plot of certain vignettes.
At the start of the film he introduces himself, explains how the plot is going to work and sings a little song about it. With all the Third Wall breaking going on with his character, the whole film comes across like a musical with only one song.
The film is one of those finely honed masterpieces where every second was thought out ,planned for and created just for the film. When I was young and watching every film I could , I dismissed Ophuls as old fashioned. I was young and foolish. Around about age 60 I rewatched something of his I had earlier, foolishly dismissed. Then I took a dive back into his work and realized for the 900th time I was foolish when I was young. (I had a good time)
The one song that makes the whole film seem like a musical -
He was amazing. I saw The Red Shoes and Colonel Blimp right around the same time and became a fan for life. He has a great role in another Ophuls film " Lola Montez" .
He played a German in Colonel Blimp and a Russian in Red Shoes, but both are just straight Anton Walbrook. Because in the movies, accents are: American, British, Other.
He could play anything vaguely Continental. Walbrook is really something, and could take me very OT. Walbrook's monologue in the Colonel Blimp immigration interview scene is one of the greatest moments on film.
Powell himself seems to have had a pretty dual outlook that was Continental as well as British. When young he lived in Nice, where his father owned a hotel, and he got his start working at a film studio there. The partnership with Pressburger resulted in scripts with that extraordinary outlook. Two great actors who'd arrived as refugees--Conrad Veidt, and later Walbrook--became The Archers' representatives of the other Europe.
It's a slight script compared to later ones, but Veidt and Valerie Hobson are fun in this (unfortunately, I've never seen a DVD where the quality's any better than here) https://www.youtube.com/watch?v=6hWV6cOHOyA
This one seems to be decent quality. Walbrook in a departure from suave Continentals, but again representing the moral center of the film. https://www.youtube.com/watch?v=h-NCoGUvZ0w
Walbrook's role in the Powell & Pressburger "Oh, Rosalinda!" not only breaks the Third Wall, but gives him the role of a fixer in post-war divided Vienna. The character is sardonic, yet finally touching as a keen observer who has survived war and now lives under occupation. Powell said something to the effect of this being the role where Walbrook most played himself.
It's an early Cold War comedy: an adaption of "Die Fledermaus," where the characters are members of the four occupying powers. I was lucky enough to see it in a theater years ago, though there is this https://www.youtube.com/watch?v=zx2c4vbTFVc
The big screen experience was just something the entire audience went along with and found enchanting. Maybe 30 years later, I can see and hear Michael Redgrave at a cafe table, toe tapping and singing to the Strauss melody: "Oh, boy, oh boy, it makes me mad!" Romantic farce, Cold War absurdity, and the emotion beneath Walbrook's cynical man of the world: all mixed up and memorable.
My God, how do I not know about this? This checks all the boxes for me, although I I love Powell and Pressburger too much to tolerate a low-quality YouTube, but: There's one copy on Ebay, $30, ships from Britain, should I do it? Yes, I shall.
Does anyone know why DVD's are segregated by region? Something to do with the inscrutable workings of The Invisible Hand? Also, while I'm asking questions, why do so many of the DVD's I buy off Ebay have Korean subtitles?
Bet it has to do with the original TV screen scan output rates--US used NTSC (525 lines per inch); UK and Commonwealth used PAL; France and its former colonies used SECAM. But since the advent of HDTV, no idea what the difference is now.
I believe it was a flop on 1955 release and then forgotten. I saw it in one of those Scorcese sponsored restoration series (I just checked: 1996). Of course we have Scorcese to thank for setting off re-discovery of Powell. I think the British Film Institute did the restoration, if that matches the copy you see. I did find it was one of those experiences that worked because: big screen + reactions of a charmed audience.
There's something about their colors, especially the reds and blues, how can colors look both washed-out and vibrant at the same time? In my mind I associate those colors with early postwar Britain, "Bombed about a bit" as Graham Greene said about Vienna in The Third Man, but coming back to life.
Your scene reminded me that Walbrook also plays a master of ceremonies in Rosalinda, and it's kind of a version of his role in La Ronde. This time it's comic, but touching on lived history.
Good stuff - the author describes the film as a "turgid spectacle of vulgarity" which is Roger Vadim in a heartbeat.. I hope this guy makes a living doing this.
Great for my wife - which is good. She's recovering from surgery on top of the Covid. She's pretty much over it.
I still feel like shit. I'm better than I was the first two days. I still feel like shit, though. Picked up a cough and some congestion I didn't have the first couple of days. Doctor said it could take 2 weeks. Merry Christmas.
It’s a cliche by now, but Samuel Barber’s “Adagio for Strings” used in Oliver Stones’s Platoon drenched in deep pathos. I was already familiar with it; its use in the movie made it even more poignant.
I feel that way about that piece too, except that I wasn’t familiar with it before I saw 2001 ASO. It’s sonority is absolutely haunting. It conveys the human isolation and emptiness of the universe.
Lothlorien/Lament for Gandalf in “Fellowship of the Ring.” I think that’s the title of it. The haunting lament that plays as the group flees the Mines of Moria.
Being pretty bad at singing hits a little close to home, friend.
But here's one (no lyric this version):
I am overly fond of Samba & bossa nova especially the great decade of the late 50's thru late 60's (at least those years in the US when the wave struck so forcefully). Aquarela do Brasil to this day still kills me with its swing, chord changes, winsome upbeat vibe...and there is one version that haunts me for maybe all the wrong reasons – the tag version in Terry Gilliam's Brazil. It's a minute long, and it slightly overdoes it with the orchestration, but it cut straight thru me when I heard it in theater. Because it is the premier antithetical to the plot. It's almost painful to hear in that context.
Anyway, while looking for something else last week*, I found a link to that recording, opened it, played it and felt the throatlump.
*I think that, as long as I keep following every link-that-I-found-on-the-way-to-another-link I will never die. Like Sara Winchester and her pile of a mansion...
You can't be "overly fond" of bossa nova. And I feel the same way about the end of Brazil.
One of the treats of my early "film" (as opposed to "movie")-watching experience was hearing many of my already beloved favorite hits when I first saw Black Orpheus in theater. There they were, straight outta 1959, in all their glory and messiness (and pretty poor pretense of musicianship in some instances).
I should add that the Stan Getz/Charlie Byrd/Joao Gilberto invasion of USian radiowaves was the first* music I ever heard that I adopted as my own, without parental involvement. Oh, I dug all the jazz (especially the old Benny Goodman small groups records) my dad had, and all the show tunes and classical stuff my mom had, but bossa nova was MINE.
*Tied with bluegrass – nobody I knew when I was a kid liked bluegrass.
“Aquarela do Brasil” vs. “Brazil” - the former being the title Brasileiros give the song, while the latter is the title it goes by in its truncated, jazzified version, is absolutely one of the best songs ever written. When I learned the full version from Brazilian bandmates it was a beautiful addition to asong I already loved.
Do you know the samba Feitiço da Vila by Noel Rosa? There's a version by Marcio Faraco that is pretty close to perfect.
https://www.youtube.com/watch?v=8DPgguaS6CM
As laid back as you like, and right at the end it gets into a groove that gives me chicken skins every time.
Thanks, Bern! I’m not familiar with this song, and I’m always glad to hear a new tune (even if it was composed in 1934 — I guess I’m not keeping up!). I also listened to Joao Gilberto’s version of it from 1982. Gonna try to find a recording of Noel Rosa’s version from way back when. I would expect it to be a big band arrangement like Pixiguinho might do.
Yes. Like a string-forward chamber orchestra, kinda.
Don't forget Cartola
https://www.youtube.com/watch?v=u29s5lNRVE0
I reckon mine would be "She Drives Me Crazy" by Fine Young Cannibals, used in Tin Men. I saw the movie in theaters when I was in high school, then when I was at Clarkson U and DJing at WTSC (was the call letters if mem serve), got my hands on the record and listened a bunch... Forgot about it but when I watched the movie again in my 30s memories came rising back. Have watched a couple times since. I love that movie and the song is a big part of why. I mean there's a lot else to love about the movie too
Anyway not sure if that exactly fits what you're getting at in the post but there it is.
It's all good
Roy, a few songs come to mind.
“Far from the Road” from True Detective hits a note as it evokes a sense of dread; not different from my thoughts of despair for our country under another Trump term. And it’s sung by the Handsome Family, which might as well be the Manson Family or Trump family. Six of one........
Good times....:)
Terry Coleman's "Cool Breeze": https://www.youtube.com/watch?v=bVC5rD6WAf4
Used as "Local on the Eights" music on the Weather Channel back in the mid-90s. Grabbed me from the beginning. Took me about ten years to find it again.
I picked up Sheryl Crow's "I Know Why" the same way--it was background music to "Local on the Eights" for a week or two.
See, the internet's good for something.
Cool Hand Luke, there's a musical accompaniment to them shoveling gravel onto a tar road, working as fast as they can to confuse the goons, used as a theme to a local newscast in Chicago when I was growing up and probably by many, many local newscasts. I think I once found what it was, and now I've lost it again.
Lalo Schifren score! So I had to try looking, and it seems the music chooser at that Chicago station was not alone. https://www.youtube.com/watch?v=SOWkPk2ETXc
Goddammit, even though it's not the same piece (also used by Detroit's WXYZ news show back in the '70s), I didn't read comments before I posted and you beat me to it!
Perhaps not exactly what Roy was driving at, but a throw-away snippet of music from an ancient Bugs Bunny cartoon has stuck with me for half a century.
https://youtu.be/lHM2vhiOykY?si=zTqbmgRVDmopFEnP
"The five o'clock whistle's on the blink
The whistle won't blow, and whatdya think?
My Papa's still in the factory
'Cause he don't know what time it happens to be!"
Is it profound? No. Does it carry some special context for me? No. Stir precious memories? Not really. Still, it haunts me in a way, coming unbidden to my inner ear for no reason at random times throughout my life. Such is the inscrutable way of the human brain!
Ha, some old bandmates and I had a thing with "Put on your old grey bonnet with the blue ribbon on it" -- especially when the bear realizes he's been hoodwinked by Bugs on "put on your old grey bonnet with the BLU --" Loony Tunes never misses!
Brilliant writers. And Mel Blanc.
Raymond Scott’s “Powerhouse” will forever play in my mind when Inthink Warner Bros. Cartoon, particularly the middle theme set to machines, mostly running amuck: https://youtu.be/YfDqR4fqIWE?si=JYBD0r61MwlheN58
Ah, so THAT'S what that's called! Love the video, with it's trippy 50's visual effects, someone got hold of an oscilloscope, maybe?
The Carl Stalling cartoon version: https://youtu.be/N9-7uLg-DZU?si=hKhShU8NmlZuK1lT
Raymond Scott was doing some of the strangest music of the 30's/40's. Had his own niche.
He was also an early electronic music pioneer, though with vacuum tubes.
There's a harmonica version of powerhouse in youtube..
Give Flight of the Bumblebee a run for its money.
Five O'clock Whistle is a damn fine tune in the hands of any of the best swing bands of that time. That drag beat is killer.
I always hear young Ella (And Her Famous Orchestra) https://www.youtube.com/watch?v=R_ee5Y7Euxg
Jeez, why didn't the poor guy just look at his phone?
I have a weird one, and recency bias is at play since I just rewatched it. But I love how director Charles Poekel uses Clara Rockmore's theremin version of "The Swan" in the film Christmas, Again. ICYMI it's a mumblecore Xmas story about a depressed Christmas tree salesman in Greenpoint. I know, how did Hallmark miss this one? For me it's part projection, part nostaliga for a place I loved. When these sadsacks' lives are soundtracked to Rockmore's never-less-than-haunting music their story becomes something less like nostalgia and more like art.
There are two that come to mind right away. I first became aware of Satie’s Gymnopedie No. 1 when it was played at the end of “My Dinner with Andre.” It’s stayed with me since. And I remember hearing Hank Williams singing “Why Don’t You Love Me Like You Used to Do” over the radio in “The Last Picture Show.”
Good choices !
The Cavalliera Rusticana intermezzo from Godfather 3. Almost saved the movie.
I've seen the first two a dozen times, usually watch them back-to-back, but I've never seen Godfather 3. I've been avoiding it because I heard it was terrible and I don't want it to ruin my impression of the first two. Should I risk it? How terrible could it be? If it's so bad it makes me laugh, that would ruin the whole Godfather mystique for me. Maybe safer to leave it alone, I don't know.
Here's what I think: it's not good. But it shows what Coppola thought about these characters (mainly Michael and the kids) as they aged, and how their corruption streams flowed internationally. Even if infelicitously expressed it makes sense and will interest anyone who loves I and II. (I understand there's a recent director's cut that improves it.) https://alicublog.blogspot.com/2006/07/godfather-iii-good-version.html
Thanks, that's a great review, guess I've got a movie to watch.
This bit of piano music (with Coppola's dad playing the piano!) in Godfather 1: https://www.youtube.com/watch?v=gtmQCoR9RRk
Just occurred to me that an older movie would have fast-paced orchestral music for the montage.
Oh yeah, great choice!
From the opening of 1992's "Used People," ... Frank Sinatra with Tommy Dorsey's band and "The Sky Fell Down."
Obscure movie, not particularly revered, but a favorite of mine.
Lou Reed's Perfect Day playing while Renton ODs in Trainspotting
And Vangelis' L'Enfant from the Year of Living Dangerously.
Le Ronde, a French film by Max Ophuls, based on a play by Arthur Schnitzler, the guy who wrote the source for Eyes Wide Shut, is an anthology of interconnected stories where a couple meet up, hookup and then move on, one or both characters meeting up and hooking up with different people, with one or both of those characters hooking up with someone else. This goes on through 10 different stories, circling back to the original character to complete the round.
Anton Walbrook serves as the omniscient Master of Ceremonys, starting the round, commenting on the situation and even entering into the plot of certain vignettes.
At the start of the film he introduces himself, explains how the plot is going to work and sings a little song about it. With all the Third Wall breaking going on with his character, the whole film comes across like a musical with only one song.
The film is one of those finely honed masterpieces where every second was thought out ,planned for and created just for the film. When I was young and watching every film I could , I dismissed Ophuls as old fashioned. I was young and foolish. Around about age 60 I rewatched something of his I had earlier, foolishly dismissed. Then I took a dive back into his work and realized for the 900th time I was foolish when I was young. (I had a good time)
The one song that makes the whole film seem like a musical -
https://youtu.be/-uBs-E6Pwcw?si=0u_7h5RlwMKDTuyt
One thing about this- about halfway through the film I started to worry if these people were all wearing condoms.
Some directors one just has to grow into. I can't imagine younger me would be able to sit through an Ozu.
Oh yes. I remember hating
" Tokyo Story" in school. 45 years later I realize It's one of the greatest films ever made.
Anton Walbrook sings! Well, "sings" in the manner of Rex Harrison in My Fair Lady, but still a thing I never thought I would see.
He was amazing. I saw The Red Shoes and Colonel Blimp right around the same time and became a fan for life. He has a great role in another Ophuls film " Lola Montez" .
He played a German in Colonel Blimp and a Russian in Red Shoes, but both are just straight Anton Walbrook. Because in the movies, accents are: American, British, Other.
He could play anything vaguely Continental. Walbrook is really something, and could take me very OT. Walbrook's monologue in the Colonel Blimp immigration interview scene is one of the greatest moments on film.
Yes, "Continental" is the word for it.
Powell himself seems to have had a pretty dual outlook that was Continental as well as British. When young he lived in Nice, where his father owned a hotel, and he got his start working at a film studio there. The partnership with Pressburger resulted in scripts with that extraordinary outlook. Two great actors who'd arrived as refugees--Conrad Veidt, and later Walbrook--became The Archers' representatives of the other Europe.
It's a slight script compared to later ones, but Veidt and Valerie Hobson are fun in this (unfortunately, I've never seen a DVD where the quality's any better than here) https://www.youtube.com/watch?v=6hWV6cOHOyA
This one seems to be decent quality. Walbrook in a departure from suave Continentals, but again representing the moral center of the film. https://www.youtube.com/watch?v=h-NCoGUvZ0w
Walbrook's role in the Powell & Pressburger "Oh, Rosalinda!" not only breaks the Third Wall, but gives him the role of a fixer in post-war divided Vienna. The character is sardonic, yet finally touching as a keen observer who has survived war and now lives under occupation. Powell said something to the effect of this being the role where Walbrook most played himself.
It's an early Cold War comedy: an adaption of "Die Fledermaus," where the characters are members of the four occupying powers. I was lucky enough to see it in a theater years ago, though there is this https://www.youtube.com/watch?v=zx2c4vbTFVc
The big screen experience was just something the entire audience went along with and found enchanting. Maybe 30 years later, I can see and hear Michael Redgrave at a cafe table, toe tapping and singing to the Strauss melody: "Oh, boy, oh boy, it makes me mad!" Romantic farce, Cold War absurdity, and the emotion beneath Walbrook's cynical man of the world: all mixed up and memorable.
My God, how do I not know about this? This checks all the boxes for me, although I I love Powell and Pressburger too much to tolerate a low-quality YouTube, but: There's one copy on Ebay, $30, ships from Britain, should I do it? Yes, I shall.
Fuuuck, now I'm wondering if it will play in my American DVD player. Can a laptop DVD drive read Euro DVD's?
Spend about $50 or so on a multi-region DVD player. Amazon has them. (We ordered two to replace the ones we have when they eventually wear out.)
Your laptop DVD will eventually reformat to be unable to read American DVDs. (Ask me how I know.)
Welcome to the fun-packed world of archival storage.
Does anyone know why DVD's are segregated by region? Something to do with the inscrutable workings of The Invisible Hand? Also, while I'm asking questions, why do so many of the DVD's I buy off Ebay have Korean subtitles?
Bet it has to do with the original TV screen scan output rates--US used NTSC (525 lines per inch); UK and Commonwealth used PAL; France and its former colonies used SECAM. But since the advent of HDTV, no idea what the difference is now.
If you have a PS4 (and probably 5) they will allow you to play non-US DVDs at least a few times before it won't switch anymore
I got one of these for myself, and another for a friend. They're quite solid players. https://www.220-electronics.com/2017-bf-bluray/lg-bp175-110-240-volts-region-free-blu-ray-player.html
And I really want to watch this in a double feature with The Third Man. First time as comedy, second time as... well, some comedy, but more tragedy.
I believe it was a flop on 1955 release and then forgotten. I saw it in one of those Scorcese sponsored restoration series (I just checked: 1996). Of course we have Scorcese to thank for setting off re-discovery of Powell. I think the British Film Institute did the restoration, if that matches the copy you see. I did find it was one of those experiences that worked because: big screen + reactions of a charmed audience.
There's something about their colors, especially the reds and blues, how can colors look both washed-out and vibrant at the same time? In my mind I associate those colors with early postwar Britain, "Bombed about a bit" as Graham Greene said about Vienna in The Third Man, but coming back to life.
What a great comment! Thanks!
I shall watch this weekend.
The Archers were just the best.
Your scene reminded me that Walbrook also plays a master of ceremonies in Rosalinda, and it's kind of a version of his role in La Ronde. This time it's comic, but touching on lived history.
Here's a review I found of the 1964 version of Le Ronde directed by that asshole Roger Vadim.
http://www.frenchfilms.org/review/la-ronde-1964.html
Good stuff - the author describes the film as a "turgid spectacle of vulgarity" which is Roger Vadim in a heartbeat.. I hope this guy makes a living doing this.
http://www.frenchfilms.org/review/la-ronde-1964.html
How has the Paxlovid worked out for you?
Great for my wife - which is good. She's recovering from surgery on top of the Covid. She's pretty much over it.
I still feel like shit. I'm better than I was the first two days. I still feel like shit, though. Picked up a cough and some congestion I didn't have the first couple of days. Doctor said it could take 2 weeks. Merry Christmas.
Thanks for asking.
glad to hear at least some success with that. I hope you get get better soon, too.
It’s a cliche by now, but Samuel Barber’s “Adagio for Strings” used in Oliver Stones’s Platoon drenched in deep pathos. I was already familiar with it; its use in the movie made it even more poignant.
I feel like that about the Khachaturian "Adagio" from the Gayane Ballet Suite that I first heard In "2001: A Space Odyssey".
And also, from "Days of Heaven", the Saint-Saën "Carnival of the Animals-Aquarium".
I feel that way about that piece too, except that I wasn’t familiar with it before I saw 2001 ASO. It’s sonority is absolutely haunting. It conveys the human isolation and emptiness of the universe.
I am a sucker for Terry Pratchett and toiling chimes so this bit of filler gets me every year I watch Hogfather. https://www.youtube.com/watch?v=sJqproUn-8E
That's pretty. Did you see the Good Omens adaptation? Thought that was a good use of A Nightingale Sang in Berkeley Square.
I saw season 1 (enjoyed it) but cancelled Prime before season 2 dropped. Will probably re-up next year and will look for this.
this was really beautiful roy. thank you for
sharing
Lothlorien/Lament for Gandalf in “Fellowship of the Ring.” I think that’s the title of it. The haunting lament that plays as the group flees the Mines of Moria.
There's a housing co-op in Madison named Lothlorien, been around since the 60's and it's pretty much exactly what you'd expect it to be.
Yoicks...