Titanic Movie Free Download In English Mp4 Song
Hercules Montero
In most variants, although not the earliest,[3] the chorus starts with a line "it was sad, so sad, it was sad", and in many versions, the line "to the bottom of the..." appended after the repeat of "went down." Other than the chorus, different versions may contain verses in different order.
There are several regional variations on the song. According to Newman I. White's 1928 book American Negro Folk-Songs, "The Titanic" has been traced back to 1915 or 1916 in Hackleburg, Alabama. Other versions from around 1920 are documented in the Frank C. Brown Collection at Duke University in North Carolina. Early recordings include Ernest Stoneman's "The Titanic" (Okeh 40288) in September 1924 and William and Versey Smith's "When That Great Ship Went Down" in August 1927.
According to Jeff Place, in his notes for the Anthology of American Folk Music:[4] "African-American musicians, in particular, found it noteworthy and ironic that company policies had kept Blacks from the doomed ship; the sinking was also attributed by some to divine retribution."
I dunno, the only one I can think of goes like:Oh they built the ship Titanic
to sail the ocean blue
Was the greatest ship
That the waters ever knew.
But the good lord raised his head
said that ship will never stand
It was sad when the great ship went down .CHORUS:
Husband's and wives,
itty bitty children lost their lives,
it was sad when that great ship went down (to the bottom of the sea)
I'm sure there were others though...
*Jack Johnson (explains the preamble to the song) was the world
heavyweight champion at the time, and black, and when he bought
a ticket and tried to come up the gangplank the captain ripped
the ticket out of his hand and said, "This is a cruise ship,
not a coal hauler." 'That made Jack Johnson feel pretty low
until he heard the news about the Titanic a few days later, at
which point he commenced to feeling a little bit better'.
Ths song was written by Leadbelly and was recorded by lots of folk artists
as well as Michelle Shocked and a group called Freakwater. (I think it's
the same, maybe there's another). Anyway there is a line about Jack Johnson
on Leradbelly's version, jhe's the Black Boxer who was denied passage ion
the ship because he's black, Leadbelly talks about it. Tom Russell wrote
a song about Jack Johnson in which he also talks about Leadbelly's song. I
forget which Tom Russell album it's on but if you are interested in these
songs it's wotrth seeking out.Bill Wagman
wjwa...@ucdavis.edu
Fragments of the song are sung a cappela in the movie Titanic (1997), early on by the character Jack (Leonardo DiCaprio) to Rose and later, while awaiting rescue, by Rose (Kate Winslet); it is also featured in the deleted scene where the characters come back from the Irish party in third class.
Now, I wouldn't have actually paid attention to it but that last scene made some doubts stir. If it actually was nothing more than a light-hearted reference, why did Cameron decide to use it in the most crucial part of the movie's climax?
I think the director decided to use it because of two clear reasons :
1. Initially it was sung by Jack during his time in the ship in Rose's company. It was a happy memory, so chances are that the Rose was holding on to that memory of hers in the darkest of times.
2. Jack died of hypothermia while holding Rose's hand. Its a bit of a stretch but : the lines "up she goes" sung by Rose while looking up at the stars might bear a hint of death, as if someone was being carried into heaven. However, the confusion is - Josephine (feminine form of Joseph) is after all a girl's name. So no way could she be referring to Jack. Also, while Rose is singing the song she has no clue about Jack's death. She tries to wake him up a scene later.
The stars blaze overhead, so bright and clear you can see the Milky Way. Rose and Jack walk along the row of lifeboats. Still giddy from the party, they are singing a popular song "Come Josephine in My Flying Machine".
They fumble the words and break down laughing. They have reached the First Class Entrance, but don't go straight in, not wanting the evening to end. Through the doors the sound of the ship's orchestra wafts gently. Rose grabs a davit and leans back, staring at the cosmos.
A ride in an automobile was a possibility, but going for a spin in an air-plane was nothing but fantasy. Back when cars and planes were new, songs about them offered opportunities for young lovers to be along - a combination of freedom, privacy, and independence for a combination of adventure, love, and sex.
Within a song lyric, the two seductive invitations were pretty much the same: "Come away with me, Lucille, / In my merry Oldsmobile" and "Come, Josephine in my flying machine/ Going up we go, up we go". Alred Bryan's lyric combined a predictable invitation with a fantastical dream: "Whoa! dear, don't hit the moon, / No, dear, not yet but soon".
Later at the bow of the ship, Rose 'flies'. Jack is taking 'Josephine' on his flying machine. The song is now 'their song'. For the characters and the audience, this moment is connected through that song. The next time either the characters or us hear it, we're taken back to this moment:
Rose closes her eyes, feeling herself floating weightless far above the sea. She smiles dreamily, then leans back, gently pressing her back against his chest. He pushes forward slightly against her. Slowly he raises his hands, arms outstretched, and they meet hers...fingertips gently touching. Then their fingers intertwine. Moving slowly, their fingers caress through and around each other like the bodies of two lovers.
Finally, at the end of the film, Rose sings it to her and Jack, who she thinks might still be alive. The reason is probably because to both of them, the song will take them back to time to the time when they 'flew', when they were alive, and when the possibility of flying to the stars was still real.
CLOSE ON Rose's face. Pale, like the faces of the dead. She seems to be floating in a void. Rose is in a semi-hallucinatory state. She knows she is dying. Her lips barely move as she sings a scrap of Jack's song:
Perhaps because the legend of the Titanic disaster was so entwined with music from the beginning it has inspired an amazing number of compositions including the musicals The Unsinkable Molly Brown and Titanic; the avant-garde art piece The Sinking of the Titanic; and over a hundred songs in just about every style. Here is a round-up of some of the more memorable ones.
For my money, the most haunting Titanic song is by gospel guitarist Blind Willie Johnson. Johnson garbles the facts and the names but his spooky slide guitar and moaning delivery is full of dread of both drowning and damnation.
Bob Dylan's 35th studio album, Tempest, was released this week, earning generally positive reviews for the 71-year-old music legend. But in one odd track, Dylan's famously inscrutable lyrical style has been applied to a surprising new subject: the Titanic. (Listen to the song below.) Tempest features 10 new songs, but critics have zeroed in on the title track, a 14-minute story-song about the ill-fated journey of the Titanic that even includes references to Leonardo DiCaprio: "Leo took his sketchbook/He was often so inclined/He closed his eyes and painted/The scenery in his mind." (Dylan on DiCaprio in an interview with Rolling Stone: "I don't think the song would be the same without him. Or the movie.") Here, four talking points on Dylan's polarizing new Titanic song:
Initially feared to be Cameron's Heaven's Gate, the $200 million picture went on to make a killing at the box office, netting more than $600 million in just domestic receipts and topping the gross charts for an unprecedented 15 consecutive weekends. The film tied All Above Eve's record for most Oscar nominations (14) and would match the record for most wins (11) previously set by Ben-Hur. The film's only losses were in Lead Actress (Kate Winslet), Supporting Actress (Gloria Stuart) and Makeup, which were taken by Helen Hunt, Kim Basinger and Men in Black, respectively. Odds are, Stuart came awfully close to beating Basinger (they famously tied at the SAG Awards), which would have given Titanic the oomph to set a new wins record.
Among Titanic's victories was Best Original Song, where "My Heart Will Go On," performed by Celine Dion at her peak in popularity and composed by James Horner and Will Jennings, sailed to triumph. The record, which sold more than 15 million copies worldwide and topped the Billboard Hot 100 for 10 weeks, is pretty much the epitome of '90s adult contemporary, a song that was all but impossible to avoid over the final years of the decade and which still garners heavy airplay on soft rock radio to this day.
In reviewing this category, I can't help but think back to the prior year of Best Original Song, 1996, in that there's a similarity among the nominees that makes it tough to really rank one above the other.
Take "My Heart Will Go On." It's a nice, glossy, well-produced, expertly performed ballad, if a tad generic (particularly when placed against the rest of the Dion catalogue) and more than just a tad oversaturated. The exact same can be said for Con Air's "How Do I Live," which too was a massive Billboard smash, setting a new record for most weeks (69) on the Billboard Hot 100. (Note it was the LeAnn Rimes cover, not the Trisha Yearwood original featured in the film, that set this record.) Composed by Oscar mainstay (though never winner) Diane Warren, it's a lovely, completely agreeable piece of country-soft rock, albeit nothing terribly exciting.
"My Heart Will Go On" and "How Do I Live" elicit such a similar, if not mirror response out of me that I find it an improbable task to give any preference to one over the other. Likewise, I reasonably enjoy both Anastasia's "Journey to the Past" and Hercules' "Go the Distance" but they're decidedly second-tier when it comes to music from animated features. We're not talking "Under the Sea" and "Beauty and the Beast" here.
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