Same Song, Different Movie: Fly Me To The Moon by Bart Howard
This is the continuation of a series from early last year that looks at the use of “needle dropped” songs, many of them popular tunes, used in movies…
This is the continuation of a series from early last year that looks at the use of “needle dropped” songs, many of them popular tunes, used in movies…
If last year is to be believed (seems so long ago now), I began a change, as I mentioned in April. Previously, I did not have a…
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. I’d like to thank my film noir/western blogging colleague Colin of Riding the High Country once more for triggering this remembrance. If it wasn’t for his stellar review of a truly under appreciated film, this all could have gone by the wayside, I fear. From his article:
“Elegiac is a word that has been used more than a few times to describe westerns that began to appear in the 1960s and particularly in the 1970s. While many movies tagged with this term do have a certain sorrowful quality to them, I can’t help feeling that it’s been overused at times. On the other hand, there are occasions where this description is highly appropriate, Monte Walsh (1970) being one of them.”
This film post, a reprise of a celebratory piece I wrote for Edward Copeland’s blog over a year ago for this stellar British crime film on its…
Last month I completed the series I began back in January that examined and remarked on The American Film Institute and its recent proclivity to create lists. Specifically, the Top 10…
Whether you’ve noticed or not, I’ve been on a music motif this month. Still, I haven’t entirely abandoned movies. So when song and film coalesce, I…
Continuing my thoughts from February regarding the use of song in film, “needle dropped” tunes are not officially considered part of a film score — those orchestral, choral, or instrumental pieces some consider background music. Both are equally utilized as cues by filmmakers for a specific purpose or to elicit certain reactions by the audience. I’m fascinated by this in general, and movie soundtracks have long intrigued me. A convergence of the music and film arts I’ve allocated much time toward. Some (not all) movie soundtracks have incorporated those songs the director or music programmer have showcased in their movie along with the film’s score.
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. As I’ve stated before, “… what really kicks off an entry… most of the time is other bloggers.” In this case, Monica’s guest post over at Tyson Carter’s site, Head in a Vice, had the honors. Her look (published in the U.S. on Veteran’s Day) at one stellar epic by a master of cinema kicked off this memory download.
“This is truly one of the most epic Japanese films of the Feudal era. The fabric of story that Kurosawa has weaved creates an awe dropping experience that completely engulfs the viewer in a web of deep-rooted plot. It doesn’t overwhelm you to the point where you are sitting there wondering who is who and what just transpired. It’s laid out in a way that one can fully understand the characters and where their loyalties lie.”
We’re at that time again, and it didn’t seem like it took that long to get here. Fall has fallen, and we keep tumbling toward the…
Continuing my thoughts from February regarding the use of song in film, “needle dropped” tunes are not officially considered part of a film score — those orchestral,…
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. I’m sure this will come as happy news for some, but we’re almost done with my week of posts on The Exorcist. With what happened back in ’77, there had to be a redemption coming. At the very least, for the franchise, the story, and ultimately for those who returned to the movie theater. Fortunately, it came from the one closest to the source.
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Continuing my trek with one particular film franchise this week for the month October, strictly as a fan of monster and horror films mind you, here we go again. And I have screenwriter Josh Olson to thank byway of his July 18th look-back (over at Trailers From Hell) at an era’s “terrible, terrible idea” for a movie, and thus crystallizing for me the following remembrance.
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Returning to my theme for the month October, as a fan of monster and horror films since childhood, I thought to tie these memories within that genre. And I’ve waited to delve into this specific film for some time now. Especially, since a great deal of history lies in the attic with this one. Might as well have candlelight flare at this very moment.
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Since the beginning of my Versus AFI: 10 Top 10 arc,…
Previous: Romantic Comedy With this post, I will complete the series I began way back in January of this year that examined and remarked on The American Film Institute and…
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. For October, as a fan of monster and horror…
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Recently, a colleague returned to contribute more of his fine writing online with a short post on a seminal sci-fi film. To celebrate his reappearance, I thought to jot down one more of these since it was he who inspired this very line of memory posts.
As I mentioned in April, last year I did not have a chance to publish a year-end piece on those web articles (many of them on…
My partner and I have done these duo posts for a couple of years now. We usually lay out a list of book/films a few months…
Two things drove this particular Forgotten Film post. First, since good friends and colleagues Paula (of Paula’s Cinema Club) and Kevin (aka Jack Deth) hosted and…