Posted by Jrand52 @ 06/27/2003 06:42 AM PST

Emily, cute song.

Yes, I must be thinking of another Emily. (I know a few...)

And there really is no Windsor Ballet. It is a euphemism that the locals have used to refer to the strip clubs that are so prominent in our downtown area.

But there IS a Windsor Light Opera, though it really isn't an opera company. Click my name for a link.

I think most people prefer to pronounce it "poo-teen", because the other pronunciation sounds too much like "putain". ;-)

And I'm glad I'm not the only one who hears the pitch problems that Ms. Paige has on THE PAJAMA GAME. I can't listen to that CD because of it.

Posted by Dave @ 06/27/2003 06:48 AM PST

Isn't that strange? I have listened to the Pajama Game OBC so much over the years, that I like Paige's off-pitch singing - in fact I find it kind of charming. LOL...of course when you hear it sung correctly, it is a bit of a shock. And YEARS AGO when I directed a production of the show (which I would do again anywhere, it's so much fun), I checked the score to see if it was "written that way" - which of course it wasn't...LOL!

Posted by Jrand52 @ 06/27/2003 06:52 AM PST

It's funny how you can get tripped up by a cast recording. Now that we are in the thick of FOREVER PLAID rehearsals, I find myself having to purge my brain of the renditions of the songs that Smudge sings on the cast recording, since he takes a *lot* of liberties with notes and rhythms in his solos, and even in some of his harmony parts.

I think it is helpful to learn the score *exactly* as it is written, and then decide what sort of "interpreting" you wish to do.

And it isn't just THE PAJAMA GAME that has such pitch issues. I find that a lot of the "classic" cast recordings of the 1950's and 1960's tend to include voices that seem to have been cast for their volume, rather than their attractive tone.

It probably has to do with the days when singers had to fill a large hall with their voice. Without proper training, that results in more shouting than singing. And shouting will tend to strain a pitch. Either the singer pushes too hard, and drifts sharp, or doesn't support enough and ends up flat. Even if they are on pitch, it's still not an attractive tone, because they are shouting.

Posted by Dave @ 06/27/2003 07:09 AM PST

We heard about GUYS & DOLLS, we heard about DAMN YANKEES, now this:

http://www.playbill.com/news/article/80352.html

Comments?

Posted by Dave @ 06/27/2003 07:15 AM PST

When I'm in love there'll be no doubt about it...

You can tell from the way that I shout it....

GIRLS: You're shouting.

I'm not at all in loooooooooove!!

Posted by Babe Williams @ 06/27/2003 07:15 AM PST

Good morning! It is a hot day in Oregon (should be around 95 today! Yikes)...

In my CD player: THE BEST OF THE FRIENDS OF DISTINCTION

In my DVD player: Good golly, I haven't had time this week to watch anything! But am going up to the BIG DVD/electronics store called Frey's today and hope to come back with some treasures!

In the VCR: Two Fay Wray movies that I taped off of TCM the other night...turned out that I had already seen both of them, but had forgotten! Guess they didn't make a big impression the first time around.

Posted by MBarnum @ 06/27/2003 07:44 AM PST

CD: Hawaiian music anthology

DVD: Charlie's Angels: Season One ;)

VHS: Ziegfeld Girls (well, right now it's a blank tape, but between the hours of 1:45 and 4:00 today it will magically transform into the movie).

...and I think we already know what Dave thinks about the prospect of bringing Pippin into the 21st century. :)

Posted by Lulu @ 06/27/2003 07:48 AM PST

MBarnum: What were the Fay Wray movies? Only films she was in that I can think of offhand are Queen Bee and, of course, King Kong. 20 years separate them!

Posted by Lulu @ 06/27/2003 08:01 AM PST

I would be very curious to see what a gifted director could do to update PIPPIN. There are a number of lovely songs in the score, but their arrangements are so mired in an early 1970's style that it makes the whole show seem dated. And the themes of the show - at least as I understand them - are not dated at all.

Posted by Dave @ 06/27/2003 08:12 AM PST

Yep, I seem to recall that you felt the problem was that Pippin was very much a show of its time, so it wouldn't work to "update" it; but that turning it into a period piece would ruin the spirit of it, as well.

I must confess I've not actually seen Pippin performed; but just based on the music I've heard, this assessment doesn't seem to be off-base.

I do think BK is spot-on when he says that we'll be hearing a lot about various musicals being brought to the screen, due to the overwhelming success of Chicago. But if one of them actually is made and opens to mediocre box office, that'll be the end of that.

Posted by Lulu @ 06/27/2003 08:16 AM PST

I've never seen PIPPIN performed, either, though I would like to.

Our original discussion of the show came about when I was asked to direct it. It seems like an interesting show, but if I were to direct it I would like to update the arrangements, and I'm not sure that would be permitted.

In the meantime, I have proposed to direct something else, but I can't say what it is until it is formally approved and announced as part of the season.

I also am inclined to agree about the prospects of the Hollywood musical. We will need to see a string of successes like CHICAGO before the studios start to bank on the trend.

Sadly, we can have a series of action/adventure movies that lose millions of dollars, and the studios keep on cranking them out. But if one musical loses money, everyone gets cold feet.

The encouraging thing about CHICAGO is that a) there are still people who know how to make a good movie musical, and b) there are lots of people who want to see a good movie musical.

Furthermore, it is encouraging that the studios continue to float the idea of making more musicals. Obviously, this means there is a desire to bring such projects to the screen.

If Miramax does bring PIPPIN to the big screen, I would suggest that they would/should change the title.

Posted by Dave @ 06/27/2003 08:27 AM PST

Now THERE'S a good topic-of-the-day. "What should the new title for the Pippin movie be?"

I think it'll have to follow the "verb-ing-noun" template that's been so popular for the past few years (from Chasing Amy to Finding Nemo). Any suggestions?

Posted by Lulu @ 06/27/2003 08:31 AM PST

I've got it!

"Killing Dad"

Ta-dah!

Posted by Lulu @ 06/27/2003 08:37 AM PST

Or Granny Singing!

Posted by Jrand52 @ 06/27/2003 08:40 AM PST

Regarding PIPPEN, since it's Miramax I won't believe it until it actually opens. And why does this company seem to only make or announce films of Fosse musicals? PIPPEN was so utterly stamped Fosse that Stephen Schwartz who wrote it was kicked out of rehearsals. It might be interesting to see a production of the material without the Glossy Fosse touch to see if it was the packaging that made the show or if there was a good show under all the typical Fosse gimicks.

I have so many new CDs and DVDs that I don't know what to watch and listen to next, but the CD will probably be ZENDA, the out-of-town closer where three different lyricists wrote to Vernon Duke's score. It stars Chita Rivera (whose hair style on the booklet is very 60s even though it is a period piece) and Alfred Drake.

Posted by William E. Lurie @ 06/27/2003 08:46 AM PST

Poor Sue. She was left at the altar when the man she was to marry ran off with someone else.

She just hasn't been herself, since.

Posted by Eva Phillips @ 06/27/2003 08:52 AM PST

LOL, Jrand. In order for that to be truthful advertising, though, they'd have to reanimate Irene Ryan.

Posted by Lulu @ 06/27/2003 08:53 AM PST

WEL, I don't believe any of them will happen until they start putting film in the can, Miramax or not. At this point everyone's just throwing stuff at the wall and seeing what will stick.

Posted by Lulu @ 06/27/2003 08:55 AM PST

And we know what does, being from farm country.

Posted by Jrand52 @ 06/27/2003 09:00 AM PST

Actually.. of all the musicals "up" for possible production, Pippin makes the most sense, given that Chicago was filmed as if it were all happening in Roxie's head. Pippin is in the same vane. There is a GREAT analysis of the show on the FOSSE site about this very topic... a great read (and also a site designed by our very own Bark Makalor)

Incidently - I believe that WEL's reference to Fosse kicking SS out of the theater is theater myth. From articles I have read, it is clear they had different visions of what the show should be about - but the getting kicked out aspect seems to be more hype then truth.

The link to read more about Pippin is available by clicking on my name...

Posted by Craig @ 06/27/2003 09:16 AM PST

Good Morning all dear readers...

No DVD this past week...just back from an exhausting trip.

CD (yesterday actually).. the Kander & Ebb CD with Brent Barrett (sp?). Maybe it's because I'm a musician, but I always listen as much to all of the surrounding elements, as I do to the actual lead vocal. Bruce is one of the very VERY few producer/arranger/coordinator persons who doesn't disappoint me when it comes to all of the musical devices that make the goose bumps, raise the spirits, tug the heartstrings, and more. After 40 years, I am a pretty good arranger (he said modestly) when it comes to big, rich, dramatic, Hollywood classic style arranging. Bruce's recordings are among the few that don't piss me off, because of elements being left out in very obvious places.

Oh dear,...enough, enough. I guess I need my second cup of coffee!

Posted by MusicGuy @ 06/27/2003 09:29 AM PST

Quote from Page 108 of Ethan Mordden's One More Kiss - The Broadway Musical In the 1970s - "Bob Fosse saved Pippen, and he had to bar Schwartz from rehearsals to do it."

Lulu - The reason I singled out Miramax (an offshoot of Harvey and Corky Productions, Buffalo concert promoters who didn't realize that when you book a play you have to give out some form of playbill) is because they are the ones who are always announcing things that never get made, musicals or other films. Given Hollywood mentality, I'm amazed that they haven't announced CHICAGO 2 - The VAUDEVILLE TOUR in which Velma and Roxie tour the country during which time Amos makes a play for Velma, Roxie marries Billy, Mary Sunshine and Mama Morton openly state their love for each other (Mama thinks that Mary Sunshine is still a man in drag) and the late David Rounds returns to earth and demands to get his ten percent of the movie profits.

Posted by William E. Lurie @ 06/27/2003 09:32 AM PST

BK--the Christiane Tisdale interview is great! What a sassy, funny woman!

DR Craig--thanks for the link--great analysis of Pippin. I also agree that of all the Fosse musicals being bandied about as potential Chiago follow-ups, Pippin would be the best to film. It's both colorful and dark and could be wonderfully cinematic and surreal, as well as having a protagonist that young people can relate to. Is it possible that Stephen Schwartz could let the arrangements be updated so the score doesn't sound too 70's?

Anyway, DVD--Great Performances Kiss Me Kate

CD--an Ute Lemper CD I burned

Posted by Maya @ 06/27/2003 09:36 AM PST

Ohmigod, WEL---LMAO!! I hope that Weinstein doesn't frequent HHW--he may take you seriously!

Posted by Maya @ 06/27/2003 09:38 AM PST

Can we agree on a spelling of the title? I have always seen it spelled PIPPIN.

And wasn't it Miramax that was rumoured to be considering GUYS & DOLLS? That wasn't a Bob Fosse show.

I also think that PHANTOM OF THE OPERA has some obvious box office appeal, though it will take a deft touch to make it the success that CHICAGO has turned out to be.

Posted by Dave @ 06/27/2003 09:38 AM PST

DR Dave --

You made a very wise and useful observation earlier today, in regards to how accurate do you have to be to the real melody of a piece you are going to sing. Aside from performance, I also do a little advanced level coaching with young organists wanting to go into performance work. I pass on the same advice that was given to me by 2 different mentors years ago. I think it is equally important for singers, as well as instrumental musicians.

It was always expected that you respect the composer of whatever the piece might be, by accurately learning it the way it was written. The place for style, a little improvisation, and "playing with the song" comes in the second chorus, or a reprise, or whatever. I was always taught that performing that first chorus correctly earned you the license to then alter the piece, but hopefully doing it with taste. For a classic bunch of examples of what is (usually) not good taste, listen to vocals on "Star Search," "American Idol," etc., ad nauseum.

Good luck with Smudge....it's a great part. I've said many times that, because "Plaid" is such a warm, feel-good show, most people have no idea of the degree of difficulty involved in the vocal parts of performing it! Give 'em hell.

Posted by MusicGuy @ 06/27/2003 09:39 AM PST

I agree with everything in your post, MG. Especially about the screeching and profiling done by the "new, modern, with-it" singers. Bleh!

And yes PLAID is difficult in its very simplicity. I think Dave should post links to photos as soon as they become available!

Posted by Jrand52 @ 06/27/2003 09:49 AM PST

I hope this was an April Fool joke in June, but according to Michael Reidel's column, Sam Mendes will be directing a Broadway Musical version of SHREK. It was a very cute film, but is hardly a good idea for a Broadway musical.

Posted by William E. Lurie @ 06/27/2003 10:19 AM PST

He's already done it, but they're calling it GYPSY.

Posted by Jrand52 @ 06/27/2003 10:26 AM PST

Meeeoow!

Posted by Gertie Gossip @ 06/27/2003 10:37 AM PST

Let me just chime in and reiterate that Miramax is on a buying frenzy. They did the same thing in the horror genre right after Scream came out, and I am grateful they did because it resulted in the sale of David Wechter and my screenplay for The Faculty.

They're not going to make many of these films (Guys and Dolls already seems to have fallen by the wayside), and really, Pippin is a terrible idea for a movie on so many levels it's not even funny. Is every movie musical going to take place "inside the head" of its leading character. They just see the name Fosse and they buy it. I'm surprised they haven't bought the most natural of all these Fosse-inspired properties - Cabaret. Why not just remake that, put back in all the songs that were cut for the previous movie version. I realize they just DID remake it in the guise of Chicago, but still why not?

It's amusing to sit back and watch this buying frenzy though, because by the time any of these things come to fruition there will have been a few bombs and the trend will be over as quickly as it arrived.

Remember when Silverado heralded the return of the Western? Remember when Unforgiven heralded the return of the Western?

Posted by bk @ 06/27/2003 11:12 AM PST

You people from farm country need to diversify....surely bread is made from scratch in the kitchen? I can tell you beyond a shadow of a doubt that "dough" sticks to a wall.

And don't y'all ever do a pasta test to see if the pasta's done?

That sticks, too.

Besides, I thought y'all waited until those cow pies were dryer before you started flinging 'em!

: )

Posted by Ron Pulliam @ 06/27/2003 11:18 AM PST

"drier" (please edit the wrong spelling in the post above)

Posted by Ron Pulliam @ 06/27/2003 11:19 AM PST

Question for BK: Is there any significance attached to numbers of visits/hits other than as something nice to know about folks visiting/hitting?

Posted by Ron Pulliam @ 06/27/2003 11:20 AM PST

Actually, I was thinking of pasta, not cow patties, when I wrote about things sticking to the wall. I did grow up in the capital city, Indianapolis, after all. ;)

RP: I share your concern about discussion of stats regarding hits, etc. I keep thinking one day I'll come here and be inundated by pop-up ads and those annoying animated banners. Please, God, NO!

Posted by Lulu @ 06/27/2003 11:34 AM PST

Lulu,
The Fay Wray movies were ONE SUNDAY AFTERNOON (1933) and VIVA VILLA (1934)...both of which I had seen before and forgotten about...however, I also watched (but did not tape) Fay's movie THE RICHEST GIRL IN THE WORLD which was a lovely comedy starring Wray along with Miriam Hopkins and Joel McCrea. TCM had a whole night of Fay Wray movies...perhaps they will someday have a whole night of Allison Hayes movies...maybe a whole 24 hours even!! I will bet that there viewership would skyrocket, should they do such a schedule of motion picture entertainment.

Posted by MBarnum @ 06/27/2003 11:35 AM PST

Oh, NO!! I love The Richest Girl in the World, and I missed it! (I didn't remember Fay Wray being in it; and I also misremembered the title as The Poor Little Rich Girl.) But I'm sure it's the one I'm thinking of. There's a lovely scene in front of a fireplace with Joel McCrea's head in Miriam Hopkins's lap, and she's gazing down at him, right? Haven't seen it in years, but I just fell in love with this movie then and haven't come across it since. Damn and blast.

Well, at least this means they've got it in their library, so it should come around again eventually.

Posted by Lulu @ 06/27/2003 11:41 AM PST

All Allison All The Time!

Hmmmmmmm....they could do 24 hours of her television guest appearances!

The only cable service with a rating of 2 viewers.

Posted by Jrand52 @ 06/27/2003 11:59 AM PST

Oh, Lulu,
I wish I had taped it, I could have sent you a copy. Well, perhaps they will repeat it soon. Fay Wray plays Hopkins' secretary and poses as Hopkins' character through most of the movie. It was a cute film, and you know I always forget how good Miriam Hopkins is...love her in THESE THREE!

Posted by MBarnum @ 06/27/2003 11:59 AM PST

I think that BK does make a good point about doing CABARET as a movie musical. It wouldn't even be considered a remake, since the original movie of CABARET is so unlike the stage version as to be unrecognizeable. Who knows? Maybe this time they will get it right....

But I don't find the prospect of the failure of a musical - whether on stage or on screen - to be as "amusing" as BK seems to find it. We all have good reason to be rooting for the success of the genre.

I don't believe that we will ever return to the days when the Western holds as prominent a place on the big and small screens as it did in the 1950s, but it does appear that every time a really good one is made ("Dances With Wolves" preceded "Unforgiven"), there is a whole crop of hastily-assembled knock-offs to follow. ("Young Guns", etc.)

I think the difference is this: westerns are easy, and musicals are difficult. Thus, it isn't likely that every Tom, Dick and Harvey is going to crawl out of the woodwork wanting to write, direct or produce a musical. This may limit the number of new musicals being produced, but it may also have the beneficial effect of maintaining a certain standard.

Then again, maybe not. We all remember "Grease 2", don't we?

My point would be that anyone who claims they know what will happen next with the "movie musical revival" is only kidding himself. Wasn't it Goldman who said, "Nobody knows anything"?

Posted by Dave @ 06/27/2003 12:07 PM PST

Don't feed the animals.

Posted by Zookeeper @ 06/27/2003 12:20 PM PST

I'm sure even William Goldman himself was aware of the conundrum created by that statement. :)

Posted by Lulu @ 06/27/2003 12:23 PM PST

In my DVD player: nothing, but waiting for "The League of Gentlemen: Live at Drury Lane" Region 2 DVD that I won on eBay.

In my CD player at work: a CD-R of a 1 hour radio show from Japan (recorded from the Internet) that Cheryl Bentyne of The Manhattan Transfer just did on June 8th. She's pretty darn good!

Up next for my CD player at work: "My Fair Lady" and "Annie." 2 CDs that I just got from eBay. What's unique about them is that they're both from Israel and in Hebrew!

"My Fair Lady" (CD issue of the 1964 Israeli cast) is the standard show that everyone knows and loves, just in Hebrew.

"Annie" (2000 cast, I think) however, has been cut to shreds (like the made-for-TV version with no FDR songs, not even "A New Deal For Christmas") but the arrangements are very much in a modern pop style. NOT the original orchestrations at all. Maybe (an Annie reference) they set it in modern times and that's why they cut certain songs and redid the instruments. The singers are good, but the arrangements are not. The next to the last track is a big giant mega-mix medley of all the songs that were sung in the show. I don't know why. The last track sounds like it's bow music. It's nice to have, never having had a musical in Hebrew before, but it's definitely not a necessary purchase.

Posted by George @ 06/27/2003 12:25 PM PST

MBarnum, yes, I'm sure that they'll show it again sometime. Once you mentioned Fay Wray it came flooding back to me that she was the secretary who Miriam switched places with, etc. I had just forgotten that part; it must have been 14 or 15 years since I've seen the film; as far as I know it's never been released to video. Glad you got to watch and enjoy, it! Yes, Miriam is great in it and I had SUCH a crush on Joel McCrea when I saw it...

Posted by Lulu @ 06/27/2003 12:27 PM PST

What wonky punctuation! Two semi-colons in the same sentence and a comma where there oughtn't to be one! Where have all the writing skills gone (long time pa-a-ssing)...

Posted by Lulu @ 06/27/2003 12:28 PM PST

Dave. You make a valid point about GREASE 2, but in that case it was purely a matter of greed. (Did I hear rumblings of a GREASE 3?)Sequels are the bane of the motion picture industry. Putting aside the idea of sequels, there are still a lot of idiots in the industry foolish enough to think that making musicals is easy. For proof, you need only look at MAN OF LA MANCHA or at the worst movie musical ever made, LOST HORIZON.

Posted by TCB @ 06/27/2003 12:36 PM PST

*ducking*

TCB, you've done it now! Believe it or not, Lost Horizon has a number of adherents on this board. Myself, I've never even been able to sit through the whole darn thing. P.U.!

Posted by Lulu @ 06/27/2003 12:41 PM PST

When it comes to filming PIPPIN, I'm certain the director and screenwriter will find a way to explain the fantasy element, that it all takes place in some parallel universe where people sing instead of talk. This can either work very well or not work at all (remember THE WIZ?). As long as Pippin and Catherine are cast with appropriately young actors, I'll be looking forward to seeing the film.

Now, what's in my players? CD player: lately I've been listening to Randy Graff and Rebecca Luker, singing the songs of Cy Coleman and Cole Porter, respectively and respectfully. Oh, they're both BK albums! Bonus points!

DVD player: I've got an odd combination going here. The second and third sets of DVDs for Alton Brown's cooking series GOOD EATS arrived this week, which I enjoy very much. I've also been re-watching the first set of GE DVDs. Particularly fun are the "Ask Alton" segments, filmed specially for the DVDs, kind of a video Ask BK Day with a less handsome leading man. Even more particularly fun are the "Ask Alton" segments for the third set, which he filmed while sporting a moustache and goatee, which look spectacularly wrong on him.

In stark contrast to AB, or perhaps not, is the complete set of DVDs from the British series THE PRISONER, starring Patrick McGoohan. Ten discs, all seventeen episodes plus lots of bonus materials, and we were able to get them at a very good price (less than $9 per disc). Der Brucer is being snotty and dismissive about the set, but I've always enjoyed the show. And, considering how surreal THE PRISONER often was as a series, and how surreal Alton Brown can get, perhaps these shows DO belong together!

A final note, of historic importance. Back in 1969, Judy Garland died and was buried, and the Stonewall Riots took place on the very same weekend. Thirty-four years later, Canada declares gay marriage legal, the US Supreme Court strikes down anti-sodomy laws, and Strom Thurmond dies, the last two events taking place on the very same day. Would anyone out there have ever dreamt of reading the names Judy Garland and Strom Thurmond in the same paragraph, with both names being appropriate? Isn't life amazing?

Posted by S. Woody White @ 06/27/2003 12:47 PM PST

Yes, Lulu, you're right. It's sort of like saying "All generalizations are false." ;-)

And I understand what you're saying, TCB, about greed. (Though I think that 99% of all Hollywood movies are motivated by greed. But that's another story...)

I was only trying to suggest that there are a lot more idiots in Hollywood who will jump at the chance to make another teenage gross-out comedy, or another "buddy cop" movie, or another action/adventure/kung-fu movie, than there are who are willing to take the time and effort involved in writing a musical.

And man (!) do I know what you mean about MAN OF LA MANCHA. It seemed for a number of years that everyone had forgotten how to make a movie musical. That is why it was so encouraging to see CHICAGO do it so well, and be so successful at it.

Posted by Dave @ 06/27/2003 12:53 PM PST

I like Alton Brown and his show, he is very clever or has very clever writers, I have never watched a program through to the end to read which - but he does have a certain style.

I did learn one thing on a cooking show many years ago from the lovely and talented Connie Stevens who was the guest - when you first slice a cucumber, rub the two parts togethers and it will reduce the acidity. Try it, it's fun. Thanks, Connie.

Just one of the 16 reasons, why I love you - Susan Slade is another one.

Posted by Jrand52 @ 06/27/2003 12:53 PM PST

parts togethers?

Oh well better an extra "s" than no "s" at all.

I hope the staff at the Beverly Garland in North Hollywood is on its mettle for all the celebs coming in!

Posted by Jrand52 @ 06/27/2003 12:55 PM PST

Jay, how can you hate me, yet love Connie Stevens?

At least I never sang Kooky, Kooky, Lend Me Your Comb.

Posted by Beverly Garland @ 06/27/2003 12:59 PM PST

Beverly, you and I both know you been spouting fighting words...the Red Dog Saloon will stay open 24 hours a day, as usual. You may be the sheriff of this town, but Erica Paige runs the place, and don't you forget it!

Posted by Jrand52 @ 06/27/2003 01:02 PM PST

Hey, Beverly, I'm in hell, waiting for ya.

Posted by IT, who conquered the world @ 06/27/2003 01:05 PM PST

All right, Jay, I'll make you a deal. I'll stop trying to make you a bad man, if you stop trying to make me a good woman.

Posted by Beverly Garland @ 06/27/2003 01:17 PM PST

It's a deal, I think. I will even forgive you for Dodie.

Posted by Jrand52 @ 06/27/2003 01:19 PM PST

Hey, punk! That's my sister you're talkin' about!

Posted by Leif Garrett @ 06/27/2003 01:21 PM PST

Speaking of "Man of La Mancha", since my first post, I just got a library copy of the video "Lost in La Mancha" (I work for the library) and will watch it this weekend (barring life throwing something more interesting in my way). That will be in my VCR tonight!

Posted by George @ 06/27/2003 01:21 PM PST

George: be sure to post your review to this here site posthaste!

Am I the only one here who also sees Jrand's imaginary friends? I keep waiting for Harvey to pop up.

Posted by Lulu @ 06/27/2003 01:24 PM PST

Lulu, Gulp Thanks for the warning! I will be prepared when the arrows begin to fly. However, I still stand by my statement.

Anyone have a better candidate for Worst Musical Ever Made?

Posted by TCB @ 06/27/2003 01:44 PM PST

"They" got it right for the movies in "I Am A Camera", and Fosse's film of "Cabaret" was genius.

Films that stay true to the stage version of musicals almost always flop because they're too stagy.

A great film of a great musical requires a visionary with taste and imagination.

Sadly, great songs might be lost because they're "stage moments" get written out and the songs can't be fitted in.

Also sadly, many bad decisions have afflicted movie versions of stage musicals in that the better songs were thrown out in favor of tripe.

It's a wonder no one has bought the rights to film "Titanic: The Musical."

Posted by Ron Pulliam @ 06/27/2003 01:45 PM PST

I think BK should have his own bee film festival:

Irwin Allen's The Swarm (Internation Version)

Killer Bees (Gloria Swanson & Kate Jackson)

Savage Bees (Ben Johnson & Michael Parks)

Terror out of the Sky (aka The Revenge of the Savage Bees)

Invasion of the Bee Girls (written by Nicholas Meyer [the 7% Solution)

Posted by MDS @ 06/27/2003 01:56 PM PST

Ron, in the world of art, "genius" is a subjective term.

Again, I am glad that you enjoy the film version of CABARET. My original point was that it was in no way faithful to the source material of the musical.

Examples:

Sally Bowles, as played by Liza Minnelli, is far too strong a performer to be playing in such a seedy dive.

Clifford Bradshaw is no longer an American, so the point-of-view is now shifted.

Clifford is also gay (or at least bisexual), which alters the relationship between the central characters of the story.

Fraulein Schneider and Herr Schultz are all but eliminated from the story, so we lose the personal impact of the Nazi uprising in Berlin.

Fraulein Kost is entirely eliminated.

Most of the original songs, and almost all of the original dialogue, have been eliminated.

These are not minor alterations to the text, to accomodate the medium of film. This is a wholesale rewrite.

Whether the revision is a success or not is, again, entirely subjective. I will have to respectfully disagree with your opinion of the film. I find it to be entirely tedious. This might place me in the minority, but I am certainly not alone in this opinion.

Horse racing, anyone?

Posted by Dave @ 06/27/2003 02:16 PM PST

I'd rather bee blue thinking of you
I'd rather bee blue over you
Than bee happy with somebody else.

Posted by Barbra @ 06/27/2003 02:26 PM PST

I have to disagree respectfully with bk in that I think PIPPIN is the best idea I've heard for a movie musical since CHICAGO won its six Oscars and this frenzied hype about making new movie musicals started. It has many of the same elements going for it that CHICAGO had including a score that is more modern in sound than DAMN YANKEES, GUYS AND DOLLS, or PHANTOM. It is also monumentally SEXY. In fact, Fosse's version was downright raunchy (as was his CHICAGO, something lots of people forget). This will make it much more appealing to younger moviegoers; it won't seem as "square" as YANKEES or G&D. The main characters are young, and as Pippin is experimenting with various aspects of life, it can go into lots of different directions keeping the story from bogging down. The songs, too, can lend themselves to different interpretations also to break away from that jarring "they're breaking into song" that seems to bother some people about musicals.

I giggled when I read your comments, WEL, from Ethan Mordden's book which I'm in the process of reading right now.

In my media machines:

CD - Clay Aiken's "This Is the Night"/"Bridge Over Troubled Water"

VCR - YOLANDA AND THE THIEF

DVD - THE HOURS

Posted by Matt H. @ 06/27/2003 02:34 PM PST

The male lead in the film of CABARET is not named Clifford. His name is Brian. As for his being British, so was Christopher Isherwood, who wrote the original Berlin Stories upon which everything was based, and Mr. Isherwood was most certainly gay. (Somehow, the idea of Bert Convy playing a gay Clifford in the original Broadway CABARET doesn't fit, however. Wrong era.)

Posted by S. Woody White @ 06/27/2003 02:37 PM PST

And the topic was?
CDs: Carole King's "Tapestry".(Not to be confused with Don McLeans earlier album of the same name)
"Chipmunks in Low Places"
The Carpenters "As Time Goes By"

Thanks George. A reminder to ask for my League Of Gentlemen video back from my niece. My partner Colin and I had the pleasure of seeing the show in London. We were fans of the TV series. The Box Office gentleman at Drury Lane tried to warn us off the show! Many tourists expected something quite different it seems. In the same week in London we saw ALW's "The Beautiful Game" and "The Witches Of Eastwick". Gentleman was the most entertaining show! (It also included some Sweeney Todd material which did not make it to the video)

Posted by Tom from Oz @ 06/27/2003 03:11 PM PST

I know I'm a little late, but decided to put my own 2 cents in anyway.

CD: My dad's Sarah Brightman CD that I "borrowed". She's got an odd tone to her voice, on some songs (i.e.Time To Say Goodbye) it suits her well, but on other songs (i.e. Ave Maria), she sounds like it kills her to hit the notes...strange...still, anyone who can sing that high is a hero to me.

DVD: Singin In The Rain...I love that movie so very much. Gene Kelly is quite delectable :) and all I want to do is go take a tap dancing class (which I intend to do, thanks bk :)

VHS: The Sound Of Music...I have too many musicals, hehe.

Only because no one answered my question last night, I figured I'd ask again: I'm an aspiring triple threat. I have the singing and acting down, but I need to start dance. Could I get some advice on which classes to take? Any other advice would be welcome as well. Thanks!

Posted by Sarah @ 06/27/2003 03:19 PM PST

We shall have to agree to disagree re Pippin. Although, having loved the stage show I would be more than pleased to see it work on film. That said, I don't think it will get made.

The stats mean nothing, really, just nice to know when we're doing well.

Re Lost Horizon: I think it IS one of the worst movie musicals ever made and I don't really know many who don't share that opinion - what us guilty pleasure people REALLY like is the Bacharach/David score, most of which I would defend quite vigorously. There is no defense of the film, and the blame can be put squarely on the shoulders of the totally inept Charles Jarrott.

The vocal session went swimmingly - great stuff from Miss Katherine Helmond, who regaled us with some amusing Terry Gilliam stories. And Michelle Nicastro, Michelle Nicastro and Michelle Nicastro did wonderfully on the Andrews Sisters' song Aurora.

Posted by bk @ 06/27/2003 03:32 PM PST

LOL! Sarah, read yesterday's archived posts. I guarantee that many people DID answer your question. :)

Posted by Lulu @ 06/27/2003 04:09 PM PST

Someone mentioned poutine!

When i say the word in English i do say "poo-teen". But when i say it in French it's "poo-tin"

I wish i had some!

Posted by Jennifer @ 06/27/2003 04:26 PM PST

I would like to point out that the film version of Cabaret is actually closer to the play I Am A Camera (which is also based on Isherwood stories) and was written by John Van Druten. The stage version of Cabaret is also based on the same source material.

One can find the characters of Natalie Landauer and Fritz can in I Am A Camera as they are in the film version of Cabaret. There is also Frauline Schneider but no Frauline Kost or Herr Schultz.

But what is most interesting is that the Brian/Clifford (Cabaret Film/Cabaret Stage) character is called Christopher Isherwood. Therefore the character is British. I don't know if the character of Isherwood was gay like Isherwood was in this version since I have never seen the play or the film but Julie Harris did win one of her Tony Awards for it.

Other characters in this version were Clive Mortimer and Mrs. Watson-Courtneidge.

I also agree that Liza Minnelli as Sally Bowles was "too good" to be performing in a seedy cabaret in Berlin. Sally was British and she believed the Germans were no threat in much the same way that Prime Minister Neville Chamberlain was. (But of course this was before this actually happened) I Am a Camera takes place in 1930 and solely in a room in Schneider's flat. The 'cabaret" is never seen.

With the exception of two of the songs in the film version they are all sung in the Cabaret as a comment to the action outside the Kit Kat Klub. The exception was Tomorrow Belongs To Me and Married. Tomorrow Belongs To Me is perhaps more chilling as is sung in the film than it is on stage.

Fosse starts on the angelic like face of a blond blue eyed boy singing the song. Then the camera slowly pans down to see that he is wearing a brown shirt and the swastika.

Married is sung in German and over the wedding of Fritz and Natalie.

Should also point out Sitting Pretty (The original Money Song from the stage version) is also used as an instrumental. It is on a record that Sally brings into Brian room when she tries to seduce him.

I have to admit I never saw a stage version of Cabaret to long after the film version was released. I only knew it from the LP that my parents had. It was only after I left the film did I realize that a majority of the stage songs were no longer used and that the secondary story lines were vastly differently.

I think that the film version of Cabaret can stand on its own as a separate entity from the stage version. As a film musical Cabaret is one of the best films in that genre ever made. I believe that if Cabaret had been released by a major studio it would have won Best Picture at the Oscars that year instead of The Godfather (Which only won 3 awards)

Although there is no "documentation" of the original stage version of Cabaret with maybe an archive recording at Lincoln Center. There is at least one of the current version (almost) that was recorded for British TV. Although it does not have Rob Marshall input as co-director or choreography it does have co-director's Sam Mendes' original concept of this version.

Posted by Michael Shayne @ 06/27/2003 04:57 PM PST

Wanted to clarify. That Liza was not a British Sally in the film version. She was American. The real Sally and the stage version she was British. Not sure if she was a Brit in I am Camera.

Posted by Michael Shayne @ 06/27/2003 05:00 PM PST

So, you had the Nicastro
Sisters in the studio today,
BK!?

Great!

Posted by François @ 06/27/2003 05:29 PM PST

Janis Paige, off-pitch? I've been listening to The Pajama Game for more than four decades, and have never thought of her as "off." Am I such a rarity? Blithely tone-deaf, completely off-key, yet able to hum the sweetest sounds of every Broadway tune (but only in my head)? Some questions, if I may: Is Janis Paige better or worse in Here's Love? And who are those other off-pitch leading ladies? The ones my ear can detect (and that must really be saying something) are Lucille Ball (tolerable in Wildcat, unbearable in Mame) and Melina Mercouri as Illya Darling (but I can never hold that against her).

Posted by TorontoDan @ 06/27/2003 05:45 PM PST

I love Lucy in Wildcat - she's wonderful on the album (and also on The Ed Sullivan Show doing Hey, Look Me Over). I have never been able to bring myself to watch Mame for more than ten minutes - truly excruciating in every way and MUCH worse than Lost Horizon.

Posted by bk @ 06/27/2003 05:54 PM PST

My goodness, how quickly the pendulum swings. When I left work, the hot topic was the strengths and weaknesses of PIPPIN; but by the time I got home the battle lines had been drawn regarding CABARET.

Regarding the initial battle, I am not a huge fan of PIPPIN, nor do I personally think that it stands much chance of success as a film. What I find ironic is that Seattle Children's Theatre, who is recognized as one of the finest theater companies for young people in the country, is doing PIPPIN as part of their 2003 summer season. Although their flyer recommends the show for those 11 and older, it is obvious that the show does not carry the punch and the ability to shock today that it may have carried when it debuted thirty years ago.

As for CABARET, I think the original point of the discussion was that CABARET (The Movie) is not faithful to CABARET (The Broadway Musical). Regardless of whether the Broadway CABARET remained faithful to the historical characters or to the original I AM A CAMERA is irrelevant. Bob Fosse was suppose to be adapting the Broadway musical to the screen and he didn’t do that. If he had wanted to adapt I AM A CAMERA to the screen, or if he had wanted to make his own film about Christopher Isherwood and Sally Bowles, then he should have done so. However, he then should not have called it CABARET, and he should not have used any of the music in his film. And, if he had wanted a historically accurate film, he would have had to eliminate the Baron as well.

Posted by TCB @ 06/27/2003 06:11 PM PST

Remember Mad magazine's Least Horizon - "The world is a rhomboid without a circumference, and nobody knows what this simile means"?

Posted by TorontoDan @ 06/27/2003 06:11 PM PST

So, BK, did the arrangement work for you and Michelle and Grant? ...and so on, and so on...?

Just read the Unseemly Interview with "Tizzy"... Fun, Fun, Fun! -And I bet she found a way to get her T-Bird back from her Daddy! I have to second her praise for Scott LaFeber. What a wonderful director and person. He's currently the Artistic Director of the New Harmony Theatre in New Harmony, Indiana. I've worked there twice, but, alas not with Ms. Tisdale in the shows I was doing. She was doing the straight plays the summers I was there.

As for Pippin, I've always liked the show - but, I'll admit that most of my love of the show comes from the fact that I LOVE playing the piano part! As for any updating of the arrangements, even when Ben Vereen toured the show about 12 years ago, he had updated the "sound" of the show - "Simple Joys" had more of a Caribbean "Hey, Mon" feeling to it for example. And didn't the Papermill production of a few years ago totally update the arrangements?

Posted by Jose C. Simbulan @ 06/27/2003 06:23 PM PST

What many people forget (or didn't know in the first place) is that Liza was turned down for the Broadway Cabaret because she was American. The film of Cabaret was one of the few cases where a movie version is totally changed and comes out even better than the original stage version. However let's not give all the credit to Fosse. The script by Jay Presson Allen (with uncredited help from Hugh Wheeler) and the mix of songs from the play, a few new Kander & Ebb songs and an old Kander & Ebb song that Liza had first recorded on a very early album had a lot to do with it.

Posted by William E. Lurie @ 06/27/2003 06:43 PM PST

Alright, Dear readers, please send out *get well wishes* to my mother, who was hospitalized (again) on Wednesday morning. It seems that she has had some serious clotting in relation to the knee-replacement surgery she went through two weeks ago; the doctor decided that another round of surger was necessary. . .so, she's back in the hospital recuperating AGAIN.

Today's Topic:

DVD PLAYER: BUFFY: SEASON FOUR.

CD PLAYER: New B'way Cast of NINE, which, admittedly, I am delighted with. Antonio will surprise many, many people with his performance on disc.
THE LAST WALTZ - The Band and everyone under the sun saying farewell to the group known as THE BAND. Four great discs.
HARRY NILSSON - the best of. Quirky little album. . ."I Guess the Lord Must Be in New York City" is the reason I bought it, but, gee whiz. . .what a strange, strange collection of songs with weird arrangements.

Posted by td @ 06/27/2003 06:45 PM PST

Well now I feel dumb for not checking back to my post yesterday...thanks to everyone who replied back to me, I really do appreciate the advice, especially the "musical theater knowledge" ones. I researched some local dance studios, and I think I've found one that will suit my needs and my budget :). I'm hoping that my parents are willing to help a little with the money, because shows, lessons, head shots, and books on theater cant be cheap. I really do appreciate it, and I'm trying to get some sound clips up on my PC soon, I'll get them here so you can ecoute-moi! Thanks again.

Posted by Sarah @ 06/27/2003 07:13 PM PST

A load of positive vibes to your Mother td.

Posted by Tom from Oz @ 06/27/2003 07:21 PM PST

Well, we are home from our whirlwind trip! A good time was had by all.

Dave, please email me -- I have fire-eating directions for you.

Posted by Laura @ 06/27/2003 07:29 PM PST

TD--add me to the list of those who are sending your mother good vibes.

Sarah--one more piece of advice, which may or may not be gratuitous. You're 15? You probably just started high school then. I made the mistake of not doing shows my freshman and sophomore years in high school because the drama teacher then was a favoritist who I really didn't like and many of the people who had clout in the drama club got on my nerves. Audition for every show your school puts on, no matter what genre. By the time you get out of high school, you will have about 8 shows to add to your resume.

Loved reading all the intelligent posts on Cabaret and Pippin. I truly hope that the movie musical undergoes a Renaissance but not at the expense of quality. Instead of Miramax buying up the entire Fosse estate, I hope that maybe one or two really, really good movie musicals come out a year. As for the worst movie musicals ever, can I add A Little Night Music to Man of La Mancha and Lost Horizon? I remember hearing one catty Bette Midler quote about the latter--"I never miss a chance to see a Liv Ullmann musical!"

Posted by Maya @ 06/27/2003 07:35 PM PST

td, your poor mother. Best of wishes for a complete recovery.

Posted by Jane @ 06/27/2003 07:40 PM PST

Michael, I'm so glad that you enjoy CABARET as much as you do, but did you really mean to suggest that it was/is a superior film to THE GODFATHER? One would be hard-pressed to find a serious film critic who does not list THE GODFATHER in his/her top 10 list of films in history, yet CABARET failed to even crack the top 100 on the AFI list from a few years ago.

Not that I'm being critical; I'm just surprised to hear someone take that stance - even in a forum full of musical theatre lovers.

Posted by Dave @ 06/27/2003 07:47 PM PST

No one has mentioned A CHORUS LINE or ANNIE among the worst film musicals ever? The 1970's were truly a cruel decade as far as movie musicals go.

Posted by Dave @ 06/27/2003 07:52 PM PST

I saw the original CABARET on Broadway, the film, and the revisal currently playing. The material is so strong that it's open to many interpretations and approaches, and the original was certainly something in its day. I have to say, however, that I think the version of the show playing in NYC now is THE definitive musical version of this story. Yes, I miss Cliff's lovely "Why Should I Wake Up" in the new version, but everything else in the revisal is so much more powerful, and the added element of androgynous sexuality that permeates the show now adds another layer to the show's enticing but ultimately disturbing melancholy.

DR td, good thoughts from me concerning your mother's recovery. Hope all goes well.

Posted by Matt H. @ 06/27/2003 08:29 PM PST

Dave:

What I was saying was that if Cabaret was released by a major company like Warner Brothers or Columbia it may have been voted the best picture of the year. Paramount had a lot more employees to vote for Godfather than ABC films/Allied Films/ Remeber the Academy once vote The Greatest Show On Earth over High Noon and The Quiet Man as the best picture of 1952. (Cabaret received 8 academy awards for director, actress, supporting actor, music scoring, cinematography, art direction, editing and sound with that number of awards what was it lacking to win the best picture)It also voted The Poseidon Adventure over Cabaret for Best Costume design. (Nominees not awards. That went to Travels With My Aunt)

As for The Godfather, I think Part 2 is superior as a film.

Posted by Michael Shayne @ 06/27/2003 08:49 PM PST

Are you with me to say that that
us/usrr production of The Blue
Bird, directed by Cukor, really
was... a turkey???

Thought the music by Irwin
Kostal was nice.....

I have been listening to
Maggie Whiting, Superman --
BK produced! --, Two For the
Aisle -- divine Dolores Gray,
lately.....

Posted by François @ 06/27/2003 08:50 PM PST

I also wanted to mention that Liza's obvious talent while working in a seedy Berlin cabaret in CABARET has never bothered me. I've done shows with people who were HUGELY talented but still doing regional theater. They either hadn't had the breaks yet or tried the big time and failed for one reason or another. Who's to say Liza's Sally wouldn't be discovered the next week and whisked away to London or New York?

Posted by Matt H. @ 06/27/2003 08:59 PM PST

Am I the only one who liked the film of Annie? Granted, A Chorus Line sucked as a movie.

Ooh..as far as 70's film musicals go, any other fans of Ken Russell's The Boyfriend? Great fun!

Posted by Maya @ 06/27/2003 09:07 PM PST

I have THE BOYFRIEND on laserdisc, and though Russell's concept for the film is fairly clever, the execution (for me at least) becomes fairly tedious after awhile. I much prefer the gently satiric stage version rather than Russell's tricked-up, sledgehammer satire in the film treatment. But, Glenda Jackson is hysterical in her cameo. FOr me, she made the movie. I am NOT a fan of Twiggy's musical gifts either on film or stage.

Posted by Matt H. @ 06/27/2003 09:25 PM PST

Tom from Oz....Carole King and the Carpenters in your CD player...you are my kind of person!!

BK....I agree with you on Lucy in Wildcat. What do you think of Keith Andes in same? He has such a fantastic voice..both for singing and speaking! Very masculine and deep. I wish he had been given some chances in films to sing.

Posted by MBarnum @ 06/27/2003 09:28 PM PST

Yes, Maya, I agree with you; i
don't think ANNIE, the film, is
as bad as most people say it
is...

The Boy Friend was NOT The
Boy Friend I was waiting for
but this one was delightfully
cruel and fun; so much
stamina!

And the Bloomberry number
on the giant turntable was
thrilling... Very "subdued" in
fact for a Ken Russell movie...

I don't know why but I found
Liza's Sally very vulnerable
while strong. Is the character
supposed to be "likable"?

Posted by François @ 06/27/2003 09:32 PM PST

As has been pointed out, the original stage musical for "Cabaret" is, in fact, guilty of being untrue to its true "source". Fosse righted the wrong and made it much more palatable for audiences sick and tired of the musical formula of folks breaking (badly) out into song at the drop of a hat.

Perhaps now WOULD be a good time to see how the stage musical would fare as a film -- I simply cannot wait to hear The Pineapple song...perhaps sung by Judi Dench?

I do appreciate that DR Dave is "glad" I find something to value in a film he finds "tedious."

Overtly negative blunt opinions, anyone?

Posted by Ron Pulliam @ 06/27/2003 09:41 PM PST

td, (((hugs))) for your mom. I know what it's like to have a sick mother, so I have one piece of advice: balloons, cards, anything to make a room more cheery, they'll all help. They give off positive energy towards the patient. (((Hug))) to you as well!

Posted by Sarah @ 06/27/2003 09:45 PM PST

Oh, I second that:

Judi Dench would be a good
choice...

How about Twiggy as Sally??
I'm joking, i'm joking!!!

Posted by François @ 06/27/2003 10:02 PM PST

Oh.....or Ah!!

Woody Allen AND Judi
Dench?!?

Posted by François @ 06/27/2003 10:03 PM PST

Ohmigod--it just occured to me that Woody Allen could actually make a decent Herr Schultz...

Glad others here enjoy (at least partially) The Boyfriend. Glenda Jackson rules!

Posted by Maya @ 06/27/2003 10:17 PM PST

Ron, I meant it when I said I was glad you enjoyed the film. I recall reading Peter Filichia comment that he would rather that the audience enjoy a show than agree with him. I've been trying to adopt that philosophy myself.

Obviously, I don't care for the film of CABARET, but that shouldn't stop anyone else from enjoying it.

As for "overtly blunt negative opinions", I can only assume you are talking about the person who called MAME "truly excruciating in every way". Not even I could be that blunt. ;-)

Posted by Dave @ 06/27/2003 10:34 PM PST

Was it me who was so blunt? Oops (spoo, spelled backwards), I shall say three Hail Marys and two Hail Lucys. Love Keith Andes on the Wildcat album. I'm quite partial to Ken Russell's strange take on The Boy Friend. I love the way the numbers are shot, and Tony Walton's settings are some of the best ever put on film. And, shoot me, but I found Twiggs divoon in the film, but then Twiggs and I have a mutual love affair so take it with a grain of salt.

Posted by bk @ 06/28/2003 12:01 AM PST

Oh, and what a lovely and lively and sparkling bunch of posts today - so jiggy am I.

Posted by bk @ 06/28/2003 12:02 AM PST

Best wishes to td's mamere.

Hmmmmm....I like the WILDCAT album as well, Keith Andes and all. I like the movie MAME because I love Lucy. It isn't really "Mame"....that will always be Rosalind Russell....but Lucille Ball WAS Mame in real life, so it passes for me.

I thought LOST HORIZON was terrific as a remake until they got to Shangri La and started singing...with a different composer-lyricist it might have worked. Maybe Yeston or Kander-Ebb might have done a score that worked better. Who knows....could be....a Sondheim reference.

I would agree with those who put LA MANCHA higher on the scale of bad movie musicals than LH or MAME or even A CHORUS LINE....but it IS close. For promise squandered, I guess ACL takes the prize.

Posted by Jrand52 @ 06/28/2003 02:52 AM PST

Glad to see lots of different takes on movie musicals. I love the varied opinions on this site and the intelligent way we h/kshave of expressing ourselves.

Just as there are others who tolerate LOST HORIZON or MAME, I can tolerate MAN OF LA MANCHA more than either of them. Lost opportunities: yep, A CHORUS LINE is certainly at the top of the list. I wish Michael Bennett had continued with the project. There is NO Jeffrey Hornaday choreography that I can force myself to be interested in watching. At least MAME preserves Bea Arthur and Jane Connell from the original production, and it has one terrific new number conceived for film and directed and scored spectacularly well, "Lovin' You."

Posted by Matt H. @ 06/28/2003 05:24 AM PST

Late/early morning post regarding those musicals we either love or hate:

I'm no fan of CABARET, and find the "Tomorrow Belongs to Me" number to be far more manipulative than anything that Mr. Spielberg or John Williams contributed to E.T. Liza's Sally Bowles is far more grating than endearing, to moi. I think that the best acting comes from Marisa Berenson. Call me a heretic, but, I just don't like the film version of CABARET.
LOST HORIZON: I have never laughed so much in a theater at a non-comedy than I did the afternoon I saw LOST HORIZON. And, it was the first weekend, so, that darn fertility dance was there in its abundance. Bette Midler said it succinctly on the Academy Awards, "I never miss a Liv Ullman musical."
MAN OF LA MANCHA: aside from the ugliness of the cinematography, I find this one oddly endearing. Brian Blessed is great, James Coco might be slightly over the top, O'Toole should not have been dubbed, and there are quite a few marvelous moments from Sophia. Also, isn't Antonio played and sung by the young lady who starred opposite Robert Goulet in THE HAPPY TIME (and where's the film of this little charmer?)
Can't stand ANNIE. Nope. Not one bit. What seemed good on paper casting wise, is foiled by lackluster direction - - if there is any direction at all. At least a few of the musical numbers work, but, oh, that ending. . .
I love THE BOY FRIEND, and it never wears out its welcome for me. The laserdisc is gorgeous! Twiggy is spot-on, as are most of the stable of Ken Russell regulars. While we're at it, I also love Ken Russell's TOMMY, even though I am not a fan of THE WHO or the later Broadway incarnation. I even like Oliver Reed in this, but, don't like Nicholson. Ann-Margret is quite game, and lives up to her Oscar nomination, though it came in a lean year.
MAME - hmmmm. I miss Miss Kahn. Lucy is alright in the book scenes, but, she sounds like a Warner Brothers cartoon when she opens her mouth to sing. The addition of "Loving You" is top-drawer. It's not quite as hopeless as its reputation would have it seem.
A CHORUS LINE: Up until "At The Ballet" it is fine. Then comes "Surprise" and I'm out of it. The replacement for "The Music and the Mirror" does absolutely nothing for me and my disinterest turns to hatred when Cassie sings "What I Did for Love" as a friggin' solo! (anyone interested, I have a gorgeously produced book of the film with bios and behind the screen tales which I acquired around the time of the film's escape.
Has anyone seen "The Apple?"

Thanks Dear Readers one and all for the positive thoughts and vibes. . .

Posted by td @ 06/28/2003 06:22 AM PST

Good thoughts for your mother, td.

I've seen a tiny snippet of The Apple on one of the plethora of HBO channels. Catherine Mary Stewart, right? Looked like a musical version of Solarbabies.

Totally agree about Cassie singing What I Did for Love as a solo. I was open-mouthed as that unfolded before me. What were they thinking??? (Yes, I know what they were thinking - someone decided to give the film more of a traditional narrative than the show has. Hey, if it ain't broke, don't fix it. The name of the show is A Chorus Line, not Cassie 'n' Zack).

Posted by Lulu @ 06/28/2003 06:33 AM PST

Has anyone noticed that with the exception of LOST HORIZON, all the movie musicals discussed in this days posts have been adaptions of Broadway Musicals? Are we ever to see original film musicals again either with existing songs (SINGIN' IN THE RAIN, THE BANDWAGON) or original scores (GIGI, the Astaire-Rodgers films)? These could be judged on their own merits, not on how faithful they were or weren't to the shows they were based on.

Posted by William E. Lurie @ 06/28/2003 07:55 AM PST