Classical music recordings shown/mentioned in movies
A. Brain
there is a scene showing an LP of Beethoven's "Eroica".
I hadn't noticed that before. I could not tell the label,
though it was dark blue. Maybe EMI/Angel?
In "The Shawshank Redemption" the Tim Robbins
character pulls out what I recall to be the Boehm
recording of "Figaro" and plays it over the prison
loudspeaker.
In "The Heart is a Lonely Hunter", a wonderful
movie from the '60s, Alan Arkin buys an LP of
Mozart's Symphony number 40 and "listens" to
it even though he is deaf.
In "Get Out Your Handkerchiefs", a recording
of Mozart's Clarinet concerto is repeatedly
discussed by two men who are trying to console
one another as they are baffled by the bizarre
behavior of a shared girlfriend.
Since I hated "A Clockwork Orange" and in
fact walked out on it, I don't recall if there
was a specific recording of Beethoven's 9th
used or referred to.
Back to the Arkin episode in "Heart", where
he is trying to make friends with a young girl,
I am surprised that I cannot think of a movie
where somebody tries to use a record of classical
music as a seduction tool, as I am sure many
here have done, successfully or not.
--
A. Brain
Remove NOSPAM for email.
Steffen Buehler
> In "Get Out Your Handkerchiefs", a recording
> of Mozart's Clarinet concerto is repeatedly
> discussed by two men who are trying to console
> one another as they are baffled by the bizarre
> behavior of a shared girlfriend.
I guess it's the one concerto that everyone knows since "Out Of Africa"?
Regards
Steffen
david...@aol.com
> Since I hated "A Clockwork Orange" and in
> fact walked out on it, I don't recall if there
> was a specific recording of Beethoven's 9th
> used or referred to.
I'm afraid I didn't walk out on Clockwork Orange, and my next door
neighbor had the soundtrack. I think the live recording of
Beethoven's 9th used in this movie was Fricsay's, but there was a lot
of Moog-synthesized "classical" music on the soundtrack as well,
including Purcell's Funeral Music for Queen Mary and, I believe, a
Rossini overture. There was also Moog-synthesized Beethoven, and I
loved the synthesized tenorino who sang the "Turkish March" from the
last movement. But then, I love Nicola Monti, Cesare Valetti, Gerhard
Unger, and Petre Munteanu, too. I like Juan Diego Florez and his
teacher, Ernesto Palacio, too.
-david gable
Richard Schultz
: AMC last night was showing Hitchcock. In "Psycho"
: there is a scene showing an LP of Beethoven's "Eroica".
In _The Man Who Knew Too Much_, the villains play a recording of the
cantata that's performed live at the end. In _Vertigo_, Barbara bel Geddes
plays Mozart for the catatonic Jimmy Stewart. I don't remember which
recording. And speaking of Mozart, there was a (mercifully) brief interval
in which the 21st piano concerto was marketed as the "Elvira Madigan"
concerto. In _Last Action Hero_, whenever F. Murray Abraham is on screen,
Mozart's 40th symphony (a synthesized version IIRC) is playing in the
background. Not a recording, but I thought it was kind of amusing ("Who is
this Moe Zart, anyway?").
: I am surprised that I cannot think of a movie
: where somebody tries to use a record of classical
: music as a seduction tool, as I am sure many
: here have done, successfully or not.
It's been a long time since I saw _Bedazzled_, but in the sequence where
Dudley Moore thinks that being Really Smart will impress the girl, he plays
something classical or classical-sounding and ends up remarking something to
the effect that she was the first person he knew of to point out the "flute-
like qualities" of the French horn.
In _Play It Again, Sam_, there's a scene where Woody Allen decides that
Oscar Peterson will be better than Bartok for impressing his date. While
Allen frequently uses classical music in his films, the only one that I
can think of offhand in which a specific recording is shown is _Crimes and
Misdemeanors_, in which Anjelica Huston is given a DG recording of
Schubert's 15th String Quartet. There's at least one scene in a record
store in _Hannah and Her Sisters_, but I can't remember if any specific
classical recording is shown or discussed.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"All too frequently ornamentations introduced [into the Well-Tempered
Clavier] by players whose taste and skill are not comparable to Bach's
merely resemble the bird droppings that disfigure the statues of great men."
-- Ralph Kirkpatrick
Allen
Allen
Akiralx
"A. Brain" <abr...@NOSPAMatt.net> wrote in message
news:PIXSi.11555$kj1....@bgtnsc04-news.ops.worldnet.att.net...
> AMC last night was showing Hitchcock. In "Psycho"
> there is a scene showing an LP of Beethoven's "Eroica".
> I hadn't noticed that before. I could not tell the label,
> though it was dark blue. Maybe EMI/Angel?
The LP is a mockup, not a genuine recording.
Adam Matlock
working of Arthur Benjamin's Storm Clouds cantata, with Herrmann
himself getting a conducting cameo in the film.
And I'm sure you all hate Wendy Carlos to death, but I love the
Beethoven (and Rossini and Purcell) arrangements in the Clockwork
Orange soundtrack. It adds so much to the film, and is reasonably
listenable on its own after the gimmick wears through.
Paul Goldstein
MacMurray and Stanwyck's step-daughter stop in the woods above the Hollywood
Bowl to listen to a live performance of the first movement of Schubert's
Unfinished Symphony. What you hear of the music is tantalizing - it sounds very
intense!
The Historian
> AMC last night was showing Hitchcock. In "Psycho"
> there is a scene showing an LP of Beethoven's "Eroica".
> I hadn't noticed that before. I could not tell the label,
> though it was dark blue. Maybe EMI/Angel?
In "Vertigo", a well-known Mozart serenade is played when Scotty is
hospitalized.
Matthew B. Tepper
following letters to be typed in
news:1193063430.7...@v29g2000prd.googlegroups.com:
Which serenade? I just saw "Vertigo" again last night -- it is a rich film
which repays multiple viewings.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
Matthew B. Tepper
letters to be typed in news:PIXSi.11555$kj1.4079@bgtnsc04-
news.ops.worldnet.att.net:
> Back to the Arkin episode in "Heart", where he is trying to make friends
> with a young girl, I am surprised that I cannot think of a movie where
> somebody tries to use a record of classical music as a seduction tool, as I
> am sure many here have done, successfully or not.
Oh, successfully, to be sure, especially in my college days.
I'm surprised nobody else has mentioned "Unfaithfully Yours," not the dreary
remake with Dudley Moore (which nevertheless has an amusing scene involving
Monti's "Csardas"), but the sparking 1948 original written and directed by
Preston Sturges.
Rex Harrison plays a symphony conductor bearing certain personality and
repertoire resonances with Sir Thomas Beecham (detective Edgar Kennedy
praises the conductor's Handel and Delius in particular), who has suspicions
about his wife, played by the radiant Linda Darnell.
Anyway, the plot centers around an upcoming concert in which Sir Alfred is to
conduct three works: Rossini's "Semiramide" Overture, Wagner's "Tannhäuser"
Overture (Dresden), and Tchaikovsky's "Francesca da Rimini." More I should
not say, but I recommend this film highly to everyone here.
Matthew B. Tepper
following letters to be typed in news:ffho1n$gbj$1...@news.iucc.ac.il:
> In _Play It Again, Sam_, there's a scene where Woody Allen decides that
> Oscar Peterson will be better than Bartok for impressing his date. While
> Allen frequently uses classical music in his films, the only one that I can
> think of offhand in which a specific recording is shown is _Crimes and
> Misdemeanors_, in which Anjelica Huston is given a DG recording of
> Schubert's 15th String Quartet. There's at least one scene in a record
> store in _Hannah and Her Sisters_, but I can't remember if any specific
> classical recording is shown or discussed.
I haven't yet seen "Melinda and Melinda," but I was looking at the soundtrack
CD the other day and noticed that it has an excerpt from a Bartok quartet, I
think #4 played by the Shanghai String Quartet. Maybe this was Woody's way
of giving Bartok his due after having "spurned" him so many years before?
Matthew B. Tepper
typed in news:471ca46b$0$4985$4c36...@roadrunner.com:
> Does anyone remember if any covers were shown in the bedroom scene in "10"?
I was looking elsewhere in that scene.
jeffli...@hotmail.com
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed innews:1193063430.7...@v29g2000prd.googlegroups.com:
>
> > On Oct 22, 1:48 am, "A. Brain" <abr...@NOSPAMatt.net> wrote:
> >> AMC last night was showing Hitchcock. In "Psycho" there is a scene
> >> showing an LP of Beethoven's "Eroica". I hadn't noticed that before.
> >> I could not tell the label, though it was dark blue. Maybe EMI/Angel?
>
> > In "Vertigo", a well-known Mozart serenade is played when Scotty is
> > hospitalized.
>
> Which serenade? I just saw "Vertigo" again last night -- it is a rich film
> which repays multiple viewings.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My main music page ---http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
> War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
It's Eine kleine nachtmusik, which is played as "therapy" for James
Stewart by Barbara Bel Geddes.
Jeff Lipscomb
jeffli...@hotmail.com
Yes, it's a fictitious "Premiere" LP of the Eroica, with "Claudio
Caselli" conducting the "Symphonette Philharmonic Orchestra."
Jeff Lipscomb
jeffli...@hotmail.com
One of the most comical uses of classical music on film is in "The
Seven Year Itch," where Tom Ewell pretends to play along on the piano
with his LP of Rachmaninoff's Second Piano Concerto - while trying to
seduce Marilyn Monroe.
Jeff Lipscomb
Bill Anderson
Rachmaninoff Second Piano Concerto on the turntable in "The Seven Year
Itch"?
Lookingglass
> he is trying to make friends with a young girl,
> I am surprised that I cannot think of a movie
> where somebody tries to use a record of classical
> music as a seduction tool, as I am sure many
> here have done, successfully or not.
>
How about the scratched recording of the Brahms 1st scene in the hilarious
Dudley/Cook movie BEDAZZLED...?
Bill Anderson
James Kahn
Hmm, dare I say that WB-C might have come up with that one?
Someone may have already mentioned it, but an obvious one
is the original "Ladykillers", featuring the playing of an
LP (or 78?) of that famous Boccherini quintent (minuet movement).
--
Jim
New York, NY
(Please remove "nospam." to get my e-mail address)
http://www.panix.com/~kahn
Matthew B. Tepper
typed in news:1193073135.5...@v23g2000prn.googlegroups.com:
> On Oct 22, 9:56 am, "Matthew B. Tepper" <oy兀earthlink.net> wrote:
>> The Historian <neil.thehistor...@gmail.com> appears to have caused the
>> following letters to be typed innews:1193063430.753575.311790@v29g2000prd
> .googlegroups.com:
>>
>> > On Oct 22, 1:48 am, "A. Brain" <abr...@NOSPAMatt.net> wrote:
>> >> AMC last night was showing Hitchcock. In "Psycho" there is a scene
>> >> showing an LP of Beethoven's "Eroica". I hadn't noticed that before.
>> >> I could not tell the label, though it was dark blue. Maybe EMI/Angel?
>>
>> > In "Vertigo", a well-known Mozart serenade is played when Scotty is
>> > hospitalized.
>>
>> Which serenade? I just saw "Vertigo" again last night -- it is a rich
>> film which repays multiple viewings.
>
> It's Eine kleine nachtmusik, which is played as "therapy" for James
> Stewart by Barbara Bel Geddes.
No, it isn't; it's in F Major.
Staying home from work with an upset tummy has its advantages. I just spent
half an hour researching on the web, and despite taunting from the accursed
Jstor, and interference from Universal Edition (which just forced a public-
domain online score archive to shut down last Friday!), I know the answer!
It's the slow movement from -- *bang* urrrrrrrrrrrghhhhhh....
Seriously, K. 338, Symphony #34 in C Major, the one without a minuet.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
jeffli...@hotmail.com
> jefflipsc...@hotmail.com appears to have caused the following letters to be
> typed innews:1193073135.5...@v23g2000prn.googlegroups.com:
>
>
>
>
>
> > On Oct 22, 9:56 am, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
> >> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> >> following letters to be typed innews:1193063430.753575.311790@v29g2000prd
> > .googlegroups.com:
>
> >> > On Oct 22, 1:48 am, "A. Brain" <abr...@NOSPAMatt.net> wrote:
> >> >> AMC last night was showing Hitchcock. In "Psycho" there is a scene
> >> >> showing an LP of Beethoven's "Eroica". I hadn't noticed that before.
> >> >> I could not tell the label, though it was dark blue. Maybe EMI/Angel?
>
> >> > In "Vertigo", a well-known Mozart serenade is played when Scotty is
> >> > hospitalized.
>
> >> Which serenade? I just saw "Vertigo" again last night -- it is a rich
> >> film which repays multiple viewings.
>
> > It's Eine kleine nachtmusik, which is played as "therapy" for James
> > Stewart by Barbara Bel Geddes.
>
> No, it isn't; it's in F Major.
>
> Staying home from work with an upset tummy has its advantages. I just spent
> half an hour researching on the web, and despite taunting from the accursed
> Jstor, and interference from Universal Edition (which just forced a public-
> domain online score archive to shut down last Friday!), I know the answer!
> It's the slow movement from -- *bang* urrrrrrrrrrrghhhhhh....
>
> Seriously, K. 338, Symphony #34 in C Major, the one without a minuet.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My main music page ---http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
>
> - Show quoted text -
Yep, you're right, Matthew! Looks like my memory played tricks with me
on this one. While on the subject of San Francisco (where Vertigo was
mostly filmed) and Mozart, there's the story of a SF classical disc
jockey who received a strange phone call one evening. An elderly lady
telephoned his FM radio station to request the playing of a Mozart
work. When the lady was asked the work's title, she replied: "It's
called 'I'm Inclined to Knock Music.'"
Jeff Lipscomb
jeffli...@hotmail.com
Can't recall the source, but I remember reading somewhere that the
Unfinished in Double Indemnity was performed by Stokowski.
Jeff Lipscomb
El Klauso
Straw," with Sean Connery, Ralph Richardson and Gina Lollobrigida.
"Once More With Feeling" with Kay Kendall and Yul Brynner, features
Brynner as an egotistical conductor overly fond of listening to his
own recordings. In "The Miracle of Morgan's Creek," Trudy Kockenlocker
works in a music store. I seem to recall that one sees a goodly number
of brown-paper-wrapped 12-inch classical 78 rpm albums behind her at
one point, as well as store ads for some classical releases - but I
may be transposing these elements from another film of the period.
Although I cross the line into 'TV-land', in Patrick McGoohan's "The
Prisoner," the general store in "The Village" had a supply of
classical records - some real releases were used - as well as a bogus
disc that figured in the plot.
O
Klauso <Kla...@Verizon.net> wrote:
> In "The Miracle of Morgan's Creek," Trudy Kockenlocker
A great movie. I still laugh at her name.
-Owen
Richard Schultz
: I'm surprised nobody else has mentioned "Unfaithfully Yours," not the dreary
: remake with Dudley Moore (which nevertheless has an amusing scene involving
: Monti's "Csardas"), but the sparking 1948 original written and directed by
: Preston Sturges.
I thought of the film (and for an actor, Rex Harrison's conducting is
actually not too bad), but since the request was for *recordings* shown
in movies, I didn't think it counted. Or is there a scene where he's
shown playing a record? It's been far too long since I've seen the film,
which, as you say, is a gem.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"What I do object to is uninformed malicious pandering to low level
uncouthness, even if it comes from the holiest of lands, Israel!"
-- Kenneth Lane, Wagnerian Romantischer Heldenspammer
david...@aol.com
> Since I hated "A Clockwork Orange" and in
> fact walked out on it, I don't recall if there
> was a specific recording of Beethoven's 9th
> used or referred to.
I'm afraid I didn't walk out on Clockwork Orange, and my next door
Mark Obert-Thorn
> While
> Allen frequently uses classical music in his films, the only one that I
> can think of offhand in which a specific recording is shown is _Crimes and
> Misdemeanors_, in which Anjelica Huston is given a DG recording of
In Allen's "Match Point" (whose soundtrack is filled with Caruso
recordings taken from BMG's "Complete Caruso" transfers), there's one
scene where the Jonathan Rhys Meyers character gives his girlfriend,
the Emily Mortimer character, "an opera CD". It's only shown
momentarily, but I recognized it at once as one of the volumes of the
Pearl "Caruso Edition", a project whose production I played a small
part in.
Mark O-T
John
The vocalist in the Beethoven March is Carlos' then-producer Rachel
Elkind. There is a scene where Alex is seen asking a record store
clerk about a special order, and many LPs can be seen on screen; among
them is the soundtrack to Kubrick's previous film, 2001: A Space
Odyssey.
Matthew B. Tepper
following letters to be typed in news:ffj0vd$5u8$3...@news.iucc.ac.il:
> In article <Xns99D1651FE73...@216.168.3.70>, Matthew B.
> Tepper <oy?@earthlink.net> wrote:
>
>: I'm surprised nobody else has mentioned "Unfaithfully Yours," not the
>: dreary remake with Dudley Moore (which nevertheless has an amusing
>: scene involving Monti's "Csardas"), but the sparking 1948 original
>: written and directed by Preston Sturges.
>
> I thought of the film (and for an actor, Rex Harrison's conducting is
> actually not too bad), but since the request was for *recordings* shown
> in movies, I didn't think it counted. Or is there a scene where he's
> shown playing a record? It's been far too long since I've seen the
> film, which, as you say, is a gem.
I'm afraid I got a little far from the original post, but as a matter of
fact, there *are* recordings involved, and even a recording machine, which is
the central piece of equipment in one of the scenes.
Matthew B. Tepper
> On Oct 22, 2:48 am, "A. Brain" wrote:
>
>> Since I hated "A Clockwork Orange" and in fact walked out on it, I don't
>> recall if there was a specific recording of Beethoven's 9th used or
>> referred to.
>
> I'm afraid I didn't walk out on Clockwork Orange, and my next door neighbor
> had the soundtrack. I think the live recording of Beethoven's 9th used in
> this movie was Fricsay's,
As I recall, Alex plays a recording on a microcassette that is clearly on the
DGG label. I can't recall if any of the names could be made out, but for
some reason I know I saw that the bass had a long surname, which validates it
as Fischer-Dieskau on Fricsay's (studio) recording.
Matthew B. Tepper
to be typed in news:1193083356....@t8g2000prg.googlegroups.com:
> Although I cross the line into 'TV-land', in Patrick McGoohan's "The
> Prisoner," the general store in "The Village" had a supply of classical
> records - some real releases were used - as well as a bogus disc that
> figured in the plot.
Indeed, they were identical recordings of the "Farandole" from Bizet's
"L'Arlésienne," although one of the plot elements turned on his claim that
there were differences between them.
Matthew B. Tepper
be typed in news:221020071620391292%ow...@denofinequityx.com:
Not to mention that if her ostensible spouse had really shown up, she might
have been Trudy Kockenlocker Ratskywatsky.
William Sommerwerck
news:1193083356....@t8g2000prg.googlegroups.com...
> There was extensive use of classical recordings in of "Woman of
> Straw," with Sean Connery, Ralph Richardson and Gina Lollobrigida.
> "Once More With Feeling" with Kay Kendall and Yul Brynner, features
> Brynner as an egotistical conductor overly fond of listening to his
> own recordings. In "The Miracle of Morgan's Creek," Trudy Kockenlocker
> works in a music store. I seem to recall that one sees a goodly number
> of brown-paper-wrapped 12-inch classical 78 rpm albums behind her at
> one point, as well as store ads for some classical releases - but I
> may be transposing these elements from another film of the period.
In another Preston Sturges film, "Unfaithfully Yours", Rex Harrison is a
conductor (roughly modeled on Beecham)who plots to murder his wife. As he
conducts various pieces, we see the various plans he's concocting.
And Sturges uses the third movement of the "Moonlight" very cleverly in the
opening of "Sullivan's Travels". This film is a true classic. If you haven't
seen it, do so. (All Sturges films are classics, in varying degree.)
William Sommerwerck
news:221020071620391292%ow...@denofinequityx.com...
>> In "The Miracle of Morgan's Creek," Trudy Kockenlocker...
> A great movie. I still laugh at her name.
It's amazing how Sturges got away with that name. Not to mention the plot!
William Sommerwerck
news:ffj0vd$5u8$3...@news.iucc.ac.il...
> : I'm surprised nobody else has mentioned "Unfaithfully Yours," not the
dreary
> : remake with Dudley Moore (which nevertheless has an amusing scene
involving
> : Monti's "Csardas"), but the sparking 1948 original written and directed
by
> : Preston Sturges.
> I thought of the film (and for an actor, Rex Harrison's conducting is
> actually not too bad), but since the request was for *recordings* shown
> in movies, I didn't think it counted. Or is there a scene where he's
> shown playing a record? It's been far too long since I've seen the film,
> which, as you say, is a gem.
Even funnier for me (as a technical writer) is Harrison's distress at having
to assemble a disk recorder. The manual is awful -- nothing has changed in
60 years.
William Sommerwerck
news:Xns99D1952CBBD...@216.168.3.70...
> As I recall, Alex plays a recording on a microcassette that
> is clearly on the DGG label. I can't recall if any of the names
> could be made out, but for some reason I know I saw that the
> bass had a long surname, which validates it as Fischer-Dieskau
> on Fricsay's (studio) recording.
Given MGM's then-connection with DG, Kubrick would have been obliged to use
DG recordings, as he did in 2001.
Historically, movie studios had their own first-rate orchestras, so there
would have been little point in licensing classical recordings. Indeed, as
phonograph records had generally poorer sound than optical film, and it
would have been a pain to transfer them, making their own recordings made
more sense.
John
>
> As I recall, Alex plays a recording on a microcassette that is clearly on the
> DGG label. I can't recall if any of the names could be made out, but for
> some reason I know I saw that the bass had a long surname, which validates it
> as Fischer-Dieskau on Fricsay's (studio) recording.
I just checked the scene using the zoom mode of the DVD and it is
indeed the Fricsay recording with Fischer-Dieskau.
BTW, a two-disc special DVD edition of A Clockwork Orange (along with
special editions of other Kubrick films) is due out tomorrow.
Allen
> AMC last night was showing Hitchcock. In "Psycho"
> there is a scene showing an LP of Beethoven's "Eroica".
> I hadn't noticed that before. I could not tell the label,
> though it was dark blue. Maybe EMI/Angel?
>
> character pulls out what I recall to be the Boehm
> recording of "Figaro" and plays it over the prison
> loudspeaker.
>
> In "The Heart is a Lonely Hunter", a wonderful
> movie from the '60s, Alan Arkin buys an LP of
> Mozart's Symphony number 40 and "listens" to
> it even though he is deaf.
>
> In "Get Out Your Handkerchiefs", a recording
> of Mozart's Clarinet concerto is repeatedly
> discussed by two men who are trying to console
> one another as they are baffled by the bizarre
> behavior of a shared girlfriend.
>
> fact walked out on it, I don't recall if there
> was a specific recording of Beethoven's 9th
> used or referred to.
>
> he is trying to make friends with a young girl,
> I am surprised that I cannot think of a movie
> where somebody tries to use a record of classical
> music as a seduction tool, as I am sure many
> here have done, successfully or not.
>
Was the tape (or whatever) of Ride of the Valkyries ever shown?
Allen
John
wrote:
> "Matthew B. Tepper" <oyþ@earthlink.net> wrote in messagenews:Xns99D1952CBBD...@216.168.3.70...
Alex North was originally hired to score 2001, but his music was
rejected by Kubrick.
Not all the recordings heard in the film originated with DG. The
opening Zarathustra theme was the Karajan/Vienna performance released
by British Decca. Some years later, writing in his column for High
Fidelity, John Culshaw said that Decca allowed Kubrick to use that
recording on the condition that its origin not be revealed; if you
check 2001's closing credits, you will see that the Zarathustra
performance is the only one for which a performer credit is not given.
On the MGM soundtrack, the Bour/Sudwesfunk Orchestra performance is
used instead, and that also appeared on the first two CD editions
(MCA, Sony). The current soundtrack CD, on Rhino, restores the Karajan
performance with the Bour performance as part of the supplemental
material.
John
>
> - Show quoted text -
A tape on an open reel recorder was shown in the chopper as the music
began.
Simone Snaith
Sunrise" was featured in the recent movie "The Children of Men". (Which
I hear was good but quite depressing.)
--
Simone // Harmonia Mundi USA
http://www.harmoniamundi.com
david...@aol.com
Boyfriend. The slow movement of Bruckner's 7th is used on the
soundtrack of Visconti's Senso. And let us not forget all of those
composer bios pre- and post-Ken Russell:
Tous les matins du monde (Saint Colombe & Marin Marais)
Symphonie fantastique (French film with Jean-Louis Barrault as Hector)
Magic Fire (Wagner)
A Song to Remember (Chopin)
Song of Love (Clara in love with Robert & Johannes)
Music Lovers (Ken Russell on Tchaikovsky)
Lisztomania (Ken Russell on Liszt)
Elgar (Ken Russell)
Mahler (Ken Russell)
Amadeus (Mozart)
Immortal Beloved (Beethoven)
Nijinsky (Stravinsky and Debussy appear)
Death in Venice (Dirk Bogarde dressed as Mahler, playing Aschenbach,
to a soundtrack by Mahler)
Diary of Anna Magdalena Bach (Straub film with Harnoncourt as Bach)
Then there are films of operas (as distinct from films of stage
performances of operas)
Aida (with Renata Tebaldi's voice emanating from Sophia Loren's chest
cavity)
Carmen Jones (clickety clack, it's Bizet)
Tosca (Franco Corelli is the only actor in the cast who also sings)
Moses und Aron (the Philips recording with Gielen originated as the
soundtrack of or in conjunction with Straub's film)
Karajan's Otello
Karajan's Carmen
Then there's all the music in Werner Herzog's films, not to mention
films of his La Scala production of La donna del lago and, I think, of
his Bayreuth production of Lohengrin, most notably:
Fitzcarraldo (Bellini in the Amazons)
And then there are films derived from plays that also furnished the
basis of operas. Don't ask me about the music on the soundtrack:
Pandora's Box (Pabst: the heroine's name is Lulu)
Tosca (Jean Renoir)
Woyzeck (Herzog)
Jean Renoir's Rules of the Game is distantly derived from
Beaumarchais's Les noces de Figaro, it opens with a quotation from the
play, and Désormière conducts the snippets of Mozart he arranged for
the soundtrack.
-david gable
david...@aol.com
> And I'm sure you all hate Wendy Carlos to death
That's where you're mistaken: I love the performances on Switched On
Bach and particularly the performance of the E flat major prelude from
Bk 1 of WTC, which is by far one of my favorite performances of any
single Bach movement. I prefer Carlos's performances to Glenn
Gould's, although he was an admirer, too, and I find Carlos infinitely
more interesting than, say, Perahia or Pinnock in Bach. Still, I
really would prefer the same performances on a piano or harpsichord: I
could really live without the synthesized sounds qua sound, which are
a distraction. Not that there aren't musical advantages to the use of
a sustaining instrument.
-david gable
O
Sommerwerck <grizzle...@comcast.net> wrote:
Treading the line of the Legion of Decency, among other folks.
-Owen
number_six
> El Klauso <Klau...@Verizon.net> appears to have caused the following letters
> to be typed:
>
> > Although I cross the line into 'TV-land', in Patrick McGoohan's "The
> > Prisoner," the general store in "The Village" had a supply of classical
> > records - some real releases were used - as well as a bogus disc that
> > figured in the plot.
>
> Indeed, they were identical recordings of the "Farandole" from Bizet's
> "L'Arlésienne," although one of the plot elements turned on his claim that
> there were differences between them.
"Hammer into Anvil" -- a great episode from a fine show.
Matthew B. Tepper
typed in news:1193091458....@k35g2000prh.googlegroups.com:
Including (for the first time in the US) the uncensored version of "Eyes Wide
Shut," without those digitally-superimposed shadows in the orgy scene.
Matthew B. Tepper
letters to be typed in
news:1193096785....@e9g2000prf.googlegroups.com:
I agree. And here's a trivia question for you: Which actress from this
series also recorded a work by Sir William Walton? This is a bit of a trick
question, I must admit.
Matthew B. Tepper
the following letters to be typed in
> In another Preston Sturges film, "Unfaithfully Yours", Rex Harrison is a
> conductor (roughly modeled on Beecham)who plots to murder his wife. As
> he conducts various pieces, we see the various plans he's concocting.
>
> And Sturges uses the third movement of the "Moonlight" very cleverly in
> the opening of "Sullivan's Travels". This film is a true classic. If you
> haven't seen it, do so. (All Sturges films are classics, in varying
> degree.)
Most of them, anyway; I still have never been able to see "The French, They
Are a Funny Race" (or whatever other title you might have seen it under).
And as I've been saying for years, "The Beautiful Blonde from Bashful Bend"
has only three things wrong with it: 1) It doesn't have Bill Demarest in it;
2) It doesn't have Jimmy Conlin in it; and 3) It isn't funny.
Matthew B. Tepper
typed in news:1193093740.6...@t8g2000prg.googlegroups.com:
> On Oct 22, 4:53 pm, "William Sommerwerck" <grizzledgee...@comcast.net>
> wrote:
>> "Matthew B. Tepper" <oyþ@earthlink.net> wrote in messagenews:Xns99D1952
>> CBBDD1qua...@216.168.3.70...
>>
>> > As I recall, Alex plays a recording on a microcassette that is clearly
>> > on the DGG label. I can't recall if any of the names could be made out,
>> > but for some reason I know I saw that the bass had a long surname, which
>> > validates it as Fischer-Dieskau on Fricsay's (studio) recording.
>>
>> Given MGM's then-connection with DG, Kubrick would have been obliged to
>> use DG recordings, as he did in 2001.
>>
>> Historically, movie studios had their own first-rate orchestras, so there
>> would have been little point in licensing classical recordings. Indeed, as
>> phonograph records had generally poorer sound than optical film, and it
>> would have been a pain to transfer them, making their own recordings made
>> more sense.
>
> Alex North was originally hired to score 2001, but his music was rejected
> by Kubrick.
And recorded by Jerry Goldsmith, issued on Varèse Sarabande VSD-5400.
> Not all the recordings heard in the film originated with DG. The opening
> Zarathustra theme was the Karajan/Vienna performance released by British
> Decca. Some years later, writing in his column for High Fidelity, John
> Culshaw said that Decca allowed Kubrick to use that recording on the
> condition that its origin not be revealed; if you check 2001's closing
> credits, you will see that the Zarathustra performance is the only one for
> which a performer credit is not given. On the MGM soundtrack, the
> Bour/Sudwesfunk Orchestra performance is used instead, and that also
> appeared on the first two CD editions (MCA, Sony). The current soundtrack
> CD, on Rhino, restores the Karajan performance with the Bour performance as
> part of the supplemental material.
I don't know if it's true, but the story going around thirty years ago was
that James Earl Jones had looped some lines for a movie and didn't think it
would be a good career move to have his name associated with a silly sci-fi
movie, so asked that his contribution remain unbilled.
number_six
> number_six <cyberi...@hotmail.com> appears to have caused the following
> letters to be typed innews:1193096785....@e9g2000prf.googlegroups.com:
>
> > On Oct 22, 1:40 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
> >> El Klauso <Klau...@Verizon.net> appears to have caused the following
> >> letters to be typed:
>
> >> > Although I cross the line into 'TV-land', in Patrick McGoohan's "The
> >> > Prisoner," the general store in "The Village" had a supply of classical
> >> > records - some real releases were used - as well as a bogus disc that
> >> > figured in the plot.
>
> >> Indeed, they were identical recordings of the "Farandole" from Bizet's
> >> "L'Arlésienne," although one of the plot elements turned on his claim
> >> that there were differences between them.
>
> > "Hammer into Anvil" -- a great episode from a fine show.
>
> I agree. And here's a trivia question for you: Which actress from this
> series also recorded a work by Sir William Walton? This is a bit of a trick
> question, I must admit.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My main music page ---http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
> War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
I'm guessing that the Walton work she recorded was Facade, but you've
got me stumped as to whom the actress was!
Matthew B. Tepper
> On Oct 22, 4:26 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> number_six <cyberi...@hotmail.com> appears to have caused the following
>> letters to be typed innews:1193096785....@e9g2000prf.googlegroup
>> s.com:
>>
>> > On Oct 22, 1:40 pm, "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>> >> El Klauso <Klau...@Verizon.net> appears to have caused the following
>> >> letters to be typed:
>>
>> >> > Although I cross the line into 'TV-land', in Patrick McGoohan's "The
>> >> > Prisoner," the general store in "The Village" had a supply of
>> >> > classical records - some real releases were used - as well as a bogus
>> >> > disc that figured in the plot.
>>
>> >> Indeed, they were identical recordings of the "Farandole" from Bizet's
>> >> "L'Arlésienne," although one of the plot elements turned on his claim
>> >> that there were differences between them.
>>
>> > "Hammer into Anvil" -- a great episode from a fine show.
>>
>> I agree. And here's a trivia question for you: Which actress from this
>> series also recorded a work by Sir William Walton? This is a bit of a
>> trick question, I must admit.
>
> I'm guessing that the Walton work she recorded was Facade, but you've got
> me stumped as to whom the actress was!
Correct work, and the actress was Fenella Fielding, who recorded it with
Michael Flanders as co-narrator, and Neville Marriner conducting his usual
band. Her role on "The Prisoner" was that of the loudspeaker announcer, who
woke up the Village's inmates with a cheery, "Good morning, good morning!"
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
pgaron
> It's been a long time since I saw _Bedazzled_, but in the sequence where
> Dudley Moore thinks that being Really Smart will impress the girl, he plays
> something classical or classical-sounding and ends up remarking something to
> the effect that she was the first person he knew of to point out the "flute-
> like qualities" of the French horn.
By popular request (?), here's a message I sent to RMCR about
"Bedazzled" in late April, after watching the 40th anniversary DVD
release. - pgaron
This weekend, I was watching the DVD released to celebrate the 40th
anniversary of the Peter Cook-Dudley Moore comedy,
"Bedazzled" (1967). I remember finding the movie absolutely hilarious
when I saw it in its original release, and I was wondering how it had
held up over the years. As I expected, I didn't think it was quite as
funny now, but it still has its share of memorable scenes, e.g., the
Order of the Leaping Beryllians (nuns who jump on trampolines). Also,
it captures the fun of London in the 1960's very well, esp. the Life
Saver candy-colored clothing worn by the cast members.
For those who don't know, "Bedazzled" is a re-telling of the Faust
legend, with Peter Cook as the Devil and Dudley Moore as a short-order
cook in a Wimpey's who sells his soul to win over his beloved
Margaret, a waitress at the restaurant. In one scene, Peter Cook is
doing various devilish deeds, such as opening the packages containing
new shirts and cutting off buttons before he sends them off to the
stores. He then opens a sealed LP record and runs a nail across it.
Out of curiosity, I froze that frame to see if I could identify the LP
-- which turned out to be a Sibelius tone poems recording, with
Barbirolli conducting the Halle Orchestra!
There is another funny scene in which Dudley Moore tries to seduce
Margaret in his Playboy-style pad, with an LP of Brahms symphonic
music playing on a record-changer of that period. Just when things get
interesting, the record begins to skip, and Dudley complains that "I
just bought it this morning!" Ah, the nostalgia!
pgaron
pgaron
of Mahler's music in movies, Mahler mayven Deryk Barker once wrote
about the film "Educating Rita":
"And don't forget Willy Russell's "Educating Rita." For those who've
not seen
it, our heroine goes to rent an apartment and is met by the landlady
(dressed rather Isadora Duncanish) whose first words are "Wouldn't you
just
*die* without Mahler?" And who later attempts suicide to the Sixth
(Symphony)."
IIRC, there's a shot of a Mahler 6th LP, with the recognizable DGG
yellow label, playing on the landlady's turntable. Given the date orf
the film, it might have been either Von Karajan's or Kubelik's
recording being played.
pgaron
Steve de Mena
> number_six <cybe...@hotmail.com> appears to have caused the following
> letters to be typed in
> news:1193096785....@e9g2000prf.googlegroups.com:
>
>> On Oct 22, 1:40 pm, "Matthew B. Tepper" <oyţ@earthlink.net> wrote:
>>> El Klauso <Klau...@Verizon.net> appears to have caused the following
>>> letters to be typed:
>>>
>>>> Although I cross the line into 'TV-land', in Patrick McGoohan's "The
>>>> Prisoner," the general store in "The Village" had a supply of classical
>>>> records - some real releases were used - as well as a bogus disc that
>>>> figured in the plot.
>>> Indeed, they were identical recordings of the "Farandole" from Bizet's
>>> "L'Arlésienne," although one of the plot elements turned on his claim
>>> that there were differences between them.
>> "Hammer into Anvil" -- a great episode from a fine show.
>
> I agree. And here's a trivia question for you: Which actress from this
> series also recorded a work by Sir William Walton? This is a bit of a trick
> question, I must admit.
Fenella Fielding "Façade", with Michael Flanders & Neville Marriner/ASMF.
Steve
A. Brain
news:1193093941.0...@i38g2000prf.googlegroups.com...
>> I have never seen "Apocalypse Now", so I don't have a clue about
>> this.
>> Was the tape (or whatever) of Ride of the Valkyries ever shown?
>> Allen- Hide quoted text -
>>
>> - Show quoted text -
>
> A tape on an open reel recorder was shown in the chopper as the music
> began.
I previously overlooked another Vietnam-related
film, "The Killing Fields" where Sam Waterston
listens to Franco Corelli singing an aria by Puccini
while contemplating what's going on.
--
A. Brain
Remove NOSPAM for email.
A. Brain
news:1193086586....@q3g2000prf.googlegroups.com...
> On Oct 22, 4:46?am, schu...@mail.biu.ack.il (Richard Schultz) wrote:
>> While
>> Allen frequently uses classical music in his films, the only one that
>> I
>> can think of offhand in which a specific recording is shown is
>> _Crimes and
>> Misdemeanors_, in which Anjelica Huston is given a DG recording of
>> Schubert's 15th String Quartet..
>
> In Allen's "Match Point" (whose soundtrack is filled with Caruso
> recordings taken from BMG's "Complete Caruso" transfers), there's one
> scene where the Jonathan Rhys Meyers character gives his girlfriend,
> the Emily Mortimer character, "an opera CD". It's only shown
> momentarily, but I recognized it at once as one of the volumes of the
> Pearl "Caruso Edition", a project whose production I played a small
> part in.
I'd forgotten about that, even though I just watched it
a few weeks ago. Some of the opera scenes are odd,
in that it seems that it is an opera performance, but
there is no orchestra, only a piano accompaniment.
And Allen should not have begun the movie with the
tennis business about the ball either going over the net
or bouncing back. That should have come in the middle
of a lesson by the Rhys-Meyers character.
Steve de Mena
> John <jano...@yahoo.com> appears to have caused the following letters to be
> typed in news:1193091458....@k35g2000prh.googlegroups.com:
>
>> On Oct 22, 4:40 pm, "Matthew B. Tepper" <oy兀earthlink.net> wrote:
>>> As I recall, Alex plays a recording on a microcassette that is clearly on
>>> the DGG label. I can't recall if any of the names could be made out, but
>>> for some reason I know I saw that the bass had a long surname, which
>>> validates it as Fischer-Dieskau on Fricsay's (studio) recording.
>> I just checked the scene using the zoom mode of the DVD and it is indeed
>> the Fricsay recording with Fischer-Dieskau.
>>
>> BTW, a two-disc special DVD edition of A Clockwork Orange (along with
>> special editions of other Kubrick films) is due out tomorrow.
>
> Including (for the first time in the US) the uncensored version of "Eyes Wide
> Shut," without those digitally-superimposed shadows in the orgy scene.
That alone doesn't justify buying it if you already have it. Is there
anything really special in these new Kubrick editions in terms of
better picture quality or sound? Deleted or alternate scenes?
Steve
John_H...@msn.com
A bit obscure but a wonderful film - Men of America (directed by and
starring as villain, Ralph Ince). This features a gang leader who
loves classical music and listens to classical music (I believe to
Beethoven's Fifth) on the radio while hiding in the hills from the
"good guys" (William Boyd, pre Hopalong, and Chic Sale). Catch this
movie if ever re-broadcast on TCM. Hauser
John_H...@msn.com
Matthew B. Tepper
following letters to be typed in
Extras are included on a second disc, containing:
* 3-part Documentary "The Last Movie: Stanley Kubrick and Eyes Wide Shut"
* "Lost Kubrick: The Unfinished Films of Stanley Kubrick" Featurette
* Interview gallery featuring Steven Spielberg, Nicole Kidman and Tom
Cruise
* Kubrick's 1998 DGA D. W. Griffith Award acceptance speech
And I for one didn't already have it, because I objected to the US edition
being censored. The orgy per se is not such a big deal, but I was greatly
offended when a studio suit claimed (against the word of people who had
actually worked with Kubrick) that "this was what Stanley wanted."
Matthew B. Tepper
letters to be typed in news:GGcTi.258926$ax1.193298@bgtnsc05-
news.ops.worldnet.att.net:
> I previously overlooked another Vietnam-related film, "The Killing Fields"
> where Sam Waterston listens to Franco Corelli singing an aria by Puccini
> while contemplating what's going on.
And I keep meaning to mention "Children of a Lesser God," in which William
Hurt repeatedly plays an LP of BWV. 1043 -- the slow movement only.
Ah, and the bare backside of a swimming Marlee Matlin, then only 20.
Matthew B. Tepper
to be typed in news:1193102560....@e9g2000prf.googlegroups.com:
> For those who don't know, "Bedazzled" is a re-telling of the Faust
> legend, with Peter Cook as the Devil and Dudley Moore as a short-order
> cook in a Wimpey's who sells his soul to win over his beloved Margaret, a
> waitress at the restaurant. In one scene, Peter Cook is doing various
> devilish deeds, such as opening the packages containing new shirts and
> cutting off buttons before he sends them off to the stores. He then opens
> a sealed LP record and runs a nail across it. Out of curiosity, I froze
> that frame to see if I could identify the LP -- which turned out to be a
> Sibelius tone poems recording, with Barbirolli conducting the Halle
> Orchestra!
>
> There is another funny scene in which Dudley Moore tries to seduce
> Margaret in his Playboy-style pad, with an LP of Brahms symphonic music
> playing on a record-changer of that period. Just when things get
> interesting, the record begins to skip, and Dudley complains that "I
> just bought it this morning!" Ah, the nostalgia!
Nowadays, the Devil doesn't bother with such minor annoyances; he works
directly for the industry organizations such as the BPI and the RIAA.
Matthew B. Tepper
following letters to be typed in
Correct!
david...@aol.com
> The vocalist in the Beethoven March is Carlos' then-producer Rachel
> Elkind.
And a fine tenor she was!
-david gable
Steve de Mena
I was offended too. But I also wanted the movie. I'll probably wait
until I get a Blu-Ray or HD player and these movies are released in
that format. Uh oh, I just looked on Amazon and I see "The Shining"
is on both HD and Blu-Ray. I assume they all are. Maybe its time to
think about getting one of those players....
Steve
Richard Schultz
: "O" <ow...@denofinequityx.com> wrote in message
: news:221020071620391292%ow...@denofinequityx.com...
:> In article <1193083356....@t8g2000prg.googlegroups.com>, El
:> Klauso <Kla...@Verizon.net> wrote:
:>> In "The Miracle of Morgan's Creek," Trudy Kockenlocker...
:
:> A great movie. I still laugh at her name.
:
: It's amazing how Sturges got away with that name. Not to mention the plot!
Well, she *was* married at the time the children were conceived.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
It's a bird, it's a plane -- no, it's Mozart. . .
Richard Schultz
: Not all the recordings heard in the film [_2001_] originated with DG. The
: opening Zarathustra theme was the Karajan/Vienna performance released
: by British Decca.
And I'd always thought that the performance in _2001_ was Boehm/VPO. I
have the von Karajan/VPO/Decca recording in its "Stereo Treasury Series"
incarnation, and the cover states that it's the "Original von Karajan
recording of music heard in '2001'." Note that it doesn't say that it's
the actual recording heard in the film -- only that it's von Karajan's
first recording of the music heard in the film.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"Logic is a wreath of pretty flowers which smell bad."
Richard Schultz
: Given MGM's then-connection with DG, Kubrick would have been obliged to use
: DG recordings, as he did in 2001.
Is Wergo some kind of subsidiary of DG? (Seriously.) The CD I have that
contains what I have always assumed are the performances of "Atmospheres"
and "Lux Aeterna" used in _2001: a Space Odyssey_ (at least it's the same
performers, and the recordings were made in 1966) makes no mention that the
recordings were licensed from DG. On the other hand, the only copyright
dates listed on the CD are 1984 and 1988.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"It never seems to occur to people that a man might just want to write
a piece of music."
-R. Vaughan Williams
Richard Schultz
: Tous les matins du monde (Saint Colombe & Marin Marais)
They had classical music recordings in the 17th century? Or rather, it
would have been rather pointless for them to have had classical music
recordings in the 17th century, given that they didn't have any machines
on which to play them.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
Richard Schultz
[re: _Eyes Wide Shut_]
: And I for one didn't already have it, because I objected to the US edition
: being censored. The orgy per se is not such a big deal, but I was greatly
: offended when a studio suit claimed (against the word of people who had
: actually worked with Kubrick) that "this was what Stanley wanted."
I don't own it because, well, it really isn't a very good film. Although,
AIUI, Ligeti didn't object to the use of his music. And given Kubrick's
reputation as a stickler for detail, it's kind of amusing that he left
several clues that even though the film is set in New York, it was filmed
in the U.K. Doubtless his fans will tell me that these "mistakes" were
deliberately done in order to increase our sense of disorientation.
In some weird way, I find it strangely fitting that the last shot of
Hitchcock's last film was of Barbara Harris winking at the camera, while
the last shot of Kubrick's last film is of Nicole Kidman saying "fuck."
Something symbolic about their attitudes toward their audiences, I guess.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"Contrariwise," continued Tweedledee, "if it was so, it might be, and
if it were so, it would be; but as it isn't, it ain't. That's logic."
Matthew B. Tepper
following letters to be typed in news:ffjvoj$koi$4...@news.iucc.ac.il:
> In article <Xns99D1C9848E0...@216.168.3.70>, Matthew B.
> Tepper <oy?@earthlink.net> wrote:
>
> [re: _Eyes Wide Shut_]
>
>: And I for one didn't already have it, because I objected to the US edition
>: being censored. The orgy per se is not such a big deal, but I was greatly
>: offended when a studio suit claimed (against the word of people who had
>: actually worked with Kubrick) that "this was what Stanley wanted."
>
> I don't own it because, well, it really isn't a very good film. Although,
> AIUI, Ligeti didn't object to the use of his music. And given Kubrick's
> reputation as a stickler for detail, it's kind of amusing that he left
> several clues that even though the film is set in New York, it was filmed
> in the U.K. Doubtless his fans will tell me that these "mistakes" were
> deliberately done in order to increase our sense of disorientation.
>
> In some weird way, I find it strangely fitting that the last shot of
> Hitchcock's last film was of Barbara Harris winking at the camera, while
> the last shot of Kubrick's last film is of Nicole Kidman saying "fuck."
> Something symbolic about their attitudes toward their audiences, I guess.
Perhaps, but remember that Hitchcock was working (sort of) on another film,
"The Short Night," after "Family Plot," and Kubrick fully intended to make a
film of "A.I." Who knows how either of those might have ended?
Matthew B. Tepper
> Matthew B. Tepper wrote:
>
>> And I for one didn't already have it, because I objected to the US
>> edition being censored. The orgy per se is not such a big deal, but I
>> was greatly offended when a studio suit claimed (against the word of
>> people who had actually worked with Kubrick) that "this was what
>> Stanley wanted."
>
> I was offended too. But I also wanted the movie. I'll probably wait until
> I get a Blu-Ray or HD player and these movies are released in that format.
> Uh oh, I just looked on Amazon and I see "The Shining" is on both HD and
> Blu-Ray. I assume they all are. Maybe its time to think about getting one
> of those players....
"Eyes Wide Shut" is also available in both of those formats as of tomorrow:
http://preview.tinyurl.com/33na28
HKAlan
I could be wrong about some (or all) of this, since I don't own any of
the Kubrick films in any video format and I no longer have my LP of
the 2001 soundtrack. But my memory is that at the end of the film, the
credits identify the Zarathrustra as being Karajan/VPO (which would
have been Decca) and the Blue Danube as being Karajan/BPO (which would
have been DG). On the LP release identified as the soundtrack, the
Böhm Zarathrustra (DG) was used instead. I think that at the time
Decca and DG were not part of the same parent company, and that's why
the Böhm was used on the LP, though for the film (I'm guessing) they
got the rights to use the Karajan recording because it was what
Kubrick wanted. In both the film and the LP, it's the Ligeti
Atmospheres that's Bour/Sudwestfunk.
My memory is that in the closing credits of A Clockwork Orange, the
recording of the Beethoven Ninth is identified as having been Karajan/
BPO (which would have been the early '60s recording). I could be wrong
about this, it's been a while since I've seen it, but it's not
impossible that the record we see (Fricsay) is not what we hear.
In The Shining, we hear bits of the Music for Strings, Percussion, and
Celesta, and it's the the Karajan DG recording.
I think that (for whatever reason) in every Kubrick film in which
classical orchestral music is heard, if there was a Karajan recording,
that's what was used.
But as I said, my memory may be playing tricks on me.
In Sunday, Bloody Sunday, we hear Soave sia il vento from Cosi Fan
Tutte several times, and I think that we may at one point see the
Davis recording of Cosi.
In The Shawshank Redemption, my memory is that even though the
recording of Che soave zeffiretto we hear is from the Böhm DG, we
either don't see the recording closely enough to identify it, or that
if we do see it, it's not the Böhm we see. (As indeed, the recording
was made later than when the film is set.)
In Simon Gray's play Otherwise Engaged, the main character spends most
of the play wanting to listen to a recording of Parsifal he's just
bought, but people keep interrupting him. My memory is that in the
Broadway production in the late '70s, the Solti recording was clearly
the prop recording.
Moving further off, but this is kind of funny: In the film version of
Molnar's The Guardsman, starring Lunt and Fontanne, there's a scene in
a box at the opera. We hear what's being supposedly sung onstage,
which is the Leporello-Giovanni duet from the beginning of Act Two.
The scene in the movie lasts rather longer than the short duet. So
when it's over, it's just played again. And then again.
Alan
A. Brain
news:1193126678....@i13g2000prf.googlegroups.com...
In The Shawshank Redemption, my memory is that even though the
recording of Che soave zeffiretto we hear is from the Böhm DG, we
either don't see the recording closely enough to identify it, or that
if we do see it, it's not the Böhm we see. (As indeed, the recording
was made later than when the film is set.)
---------------------------------------------------------------
I'm pretty sure it's the Boehm LP set, and yes, I do recall
thinking that the Boehm recording shown was not in existence
at the time the film is set. I cannot recall just when that scene
is supposed to have occurred, but maybe the Kleiber
recording would have been out, as I am thinking mid-'50s.
Another film I completely forgot about is "Diva",
which actually has as its subject a recording by
an opera star--a "bootleg" recording at that.
The film itself is something of a cult item.
One memorable line from the "diva" in "Diva":
"Business should adapt to art, not the other way around."
Richard Schultz
:> In some weird way, I find it strangely fitting that the last shot of
:> Hitchcock's last film was of Barbara Harris winking at the camera, while
:> the last shot of Kubrick's last film is of Nicole Kidman saying "fuck."
:> Something symbolic about their attitudes toward their audiences, I guess.
:
: Perhaps, but remember that Hitchcock was working (sort of) on another film,
: "The Short Night," after "Family Plot," and Kubrick fully intended to make a
: film of "A.I." Who knows how either of those might have ended?
God works in mysterious ways, his wonders to perform.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
The Historian
> The Historian <neil.thehistor...@gmail.com> appears to have caused the
> following letters to be typed innews:1193063430.7...@v29g2000prd.googlegroups.com:
>
> > On Oct 22, 1:48 am, "A. Brain" <abr...@NOSPAMatt.net> wrote:
> >> AMC last night was showing Hitchcock. In "Psycho" there is a scene
> >> showing an LP of Beethoven's "Eroica". I hadn't noticed that before.
> >> I could not tell the label, though it was dark blue. Maybe EMI/Angel?
>
> > In "Vertigo", a well-known Mozart serenade is played when Scotty is
> > hospitalized.
>
> Which serenade? I just saw "Vertigo" again last night -- it is a rich film
> which repays multiple viewings.
>
> --
> Matthew B. Tepper: WWW, science fiction, classical music, ducks!
> My main music page ---http://home.earthlink.net/~oy/berlioz.html
> To write to me, do for my address what Androcles did for the lion
> War is Peace. ** Freedom is Slavery. ** It's all Napster's fault!
I agree about the film. I was wrong on the music. My apologies.
El Klauso
favorite movie pronouncements?
"Let's fuck."
As quoted by RS, the statement seems at least a touch nihilistic. As
actually put forth in the film, it becomes more of a life-affirming
declaration, and a
touchstone for a more forgiveness-based personal belief schema.
Matthew B. Tepper
letters to be typed in news:HiiTi.260434$ax1.255231@bgtnsc05-
news.ops.worldnet.att.net:
> Another film I completely forgot about is "Diva", which actually has as its
> subject a recording by an opera star--a "bootleg" recording at that.
I find the premise untenable, that (before the bootleg is made) there are
*no* recordings whatsoever of this supposedly very famous and very busy opera
singer. And while the movie gets mega-points for style, and has that great
business with the ID cards on the Metro, I will never forgive it for making
that damned "Wally" aria ubiquitous for a while.
> The film itself is something of a cult item.
>
> One memorable line from the "diva" in "Diva":
>
> "Business should adapt to art, not the other way around."
Alas, a dream.
Allen
> Allen <al...@nothere.net> appears to have caused the following letters to be
> typed in news:471ca46b$0$4985$4c36...@roadrunner.com:
>
>> Does anyone remember if any covers were shown in the bedroom scene in "10"?
>
> I was looking elsewhere in that scene.
>
Then you probably don't know if a recording was shown in Bridget Fonda's
segment of "Aria".
Allen
HKAlan
>> I'm pretty sure it's the Boehm LP set, and yes, I do recall
> thinking that the Boehm recording shown was not in existence
> at the time the film is set. I cannot recall just when that scene
> is supposed to have occurred, but maybe the Kleiber
> recording would have been out, as I am thinking mid-'50s.
Thanks. I've only seen it on my fairly small television, so perhaps I
just couldn't see it that well.
I should amend what I wrote because I do now recall (at least I think
I do), as someone else wrote, that during the final credits of 2001,
there is no conductor and orchestra listed for Zarathrustra.
Alan
Matthew B. Tepper
That's right.
A. Brain
news:Xns99D24C8C837...@216.168.3.70...
> "A. Brain" <abr...@NOSPAMatt.net> appears to have caused the following
> letters to be typed in news:HiiTi.260434$ax1.255231@bgtnsc05-
> news.ops.worldnet.att.net:
>
>> Another film I completely forgot about is "Diva", which actually has
>> as its subject a recording by an opera star--a "bootleg" recording
>> at that.
I find the premise untenable, that (before the bootleg is made) there
are *no* recordings whatsoever of this supposedly very famous and very
busy opera singer. And while the movie gets mega-points for style,
and has that great business with the ID cards on the Metro, I will
never forgive it for making that damned "Wally" aria ubiquitous for a
while.
Well, untenability afflicts many movies. And was "Diva"
really seen enough to make that aria ubiquitous? Surely
if Corelli's "Nessun Dorma" had been in "Tootsie"
or even in "Victor/Victoria" instead of "The Killing
Fields" it wouldn't have taken
"The Three Tenors" to make it tiresome. (It's now
appearing on tv commercials)
I know I've mentioned this before. In Edward Albee's
play, A DELICATE BALANCE, which was filmed
in the early '70s as part of a limited series to be shown
in theaters, there is a reference to the men friends
listening to Bruckner together, as one of the wives
seems to be complaining about it. I think such a line
and a short scene depicting a listening session ought
to be in WHO'S AFRAID OF VIRGINIA WOOLF?
Chew Chiat Naun
> The Academy of Ancient Music's recording of Tavener's "Eternity's
> Sunrise" was featured in the recent movie "The Children of Men".
It also had a snippet of Mahler's Kindertotenlieder in it, the DFD/
Boehm recording IIRC. I remember the film as one that went for some
big emotional payoffs without quite nailing any of them.
I recently saw Bergman's Fanny and Alexander for the first time, and
was struck by the incredibly delicate and atmospheric use of several
classical pieces, notably Schumann's piano quintet.
The slow movement of Beethoven's Emperor concerto is used to memorable
effect in Peter Weir's Picnic at Hanging Rock.
Ang Lee's recent Lust, Caution has a scene where music is used as a
cipher. A young actress making her stage debut performs an emotional
scene to the strains of Nimrod (=Jaeger/"hunter") from Elgar's Enigma
variations. She will shortly assume a false identity in order to take
part in an assassination attempt against a collaborator.
An LP cover of Bruno Walter's NYPO Mahler 1st appears on the wall of
Antoine Doinel's bedsit in The 400 Blows.
Chew Chiat Naun
> Antoine Doinel's bedsit in The 400 Blows.
Actually it can't have been The 400 Blows; it must have been one of
the sequels, but I don't remember which one.
Oh, one more: the slow movement of Schubert's D.959 piano sonata in Au
hasard Balthazar.
Matthew B. Tepper
news.ops.worldnet.att.net:
> "Matthew B. Tepper" <oy兀earthlink.net> wrote in message
> news:Xns99D24C8C837...@216.168.3.70...
>
> I find the premise untenable, that (before the bootleg is made) there
> are *no* recordings whatsoever of this supposedly very famous and very
> busy opera singer. And while the movie gets mega-points for style, and
> has that great business with the ID cards on the Metro, I will never
> forgive it for making that damned "Wally" aria ubiquitous for a while.
>
> Well, untenability afflicts many movies. And was "Diva" really seen
> enough to make that aria ubiquitous? Surely if Corelli's "Nessun Dorma"
> had been in "Tootsie" or even in "Victor/Victoria" instead of "The
> Killing Fields" it wouldn't have taken "The Three Tenors" to make it
> tiresome. (It's now appearing on tv commercials)
Well, I wound up hearing it more often than I would like.
david...@aol.com
> Another film I completely forgot about is "Diva",
> which actually has as its subject a recording by
> an opera star--a "bootleg" recording at that.
>
> The film itself is something of a cult item.
I loved Diva and saw it at least half a dozen times in the theatre
when it first came out.
> One memorable line from the "diva" in "Diva":
>
> "Business should adapt to art, not the other way around."
J'aime pas Beethoven.
-david gable
david...@aol.com
> I find the premise untenable, that (before the bootleg is made) there are
> *no* recordings whatsoever of this supposedly very famous and very busy opera
> singer.
You don't listen to enough opera! Once you accept the premise that
nobody would ever have noticed Norma's pregnancy, Bellini's opera
makes perfect sense. Moreover, a weaker form of the premise of Diva
would have worked as well: that somebody wanted to market a bootleg
of a famous soprano's concert.
> And while the movie gets mega-points for style, and has that great
> business with the ID cards on the Metro, I will never forgive it for making
> that damned "Wally" aria ubiquitous for a while.
I love "Ebben ne'andro lontano" and didn't mind at all. For that
matter, I love the whole opera. And the performance of the aria in
the movie was actually pretty good. For a great if cheap thrill, I
urge the final moments of the Decca recording of Wally (Tebaldi/Cleva)
on anybody who can lay his or her hands on it: Decca has supplied
wonderful sound effects for the final avalanche. Who says I don't
appreciate all aspects of the art of opera?
And now for the quiz. Name two conductors who named their daughters
after the heroine of Catalani's opera.
-david gable
Richard Schultz
: I loved Diva and saw it at least half a dozen times in the theatre
: when it first came out.
I saw it once and felt that it promoted style over substance in that
inimitably French way that their second-tier filmmakers have.
-----
Richard Schultz sch...@mail.biu.ac.il
Department of Chemistry, Bar-Ilan University, Ramat-Gan, Israel
Opinions expressed are mine alone, and not those of Bar-Ilan University
-----
"an optimist is a guy/ that has never had/ much experience"
david...@aol.com
> I saw [Diva] once and felt that it promoted style over substance in that
> inimitably French way that their second-tier filmmakers have.
A sign of your limitations, grim reaper. Far from "promoting" style
over substance, Diva was all about the dangers of fetishizing style,
surfaces, art, bodies, other human beings. And it treated this, not
only with the lightest possible touch, but with considerable charm and
without the least trace of pretension or preaching.
-david gable
boombox
david...@aol.com wrote:
> And now for the quiz. Name two conductors who named their daughters
> after the heroine of Catalani's opera.
>
Well, we sure know one. The question is who is the other?
Matthew B. Tepper
following letters to be typed in news:ffr6er$cm6$1...@news.iucc.ac.il:
> In article <1193330652.7...@22g2000hsm.googlegroups.com>,
> david...@aol.com <david...@aol.com> wrote:
>
>: I loved Diva and saw it at least half a dozen times in the theatre
>: when it first came out.
>
> I saw it once and felt that it promoted style over substance in that
> inimitably French way that their second-tier filmmakers have.
The words "second-tier" accidentally crept into that sentence where they are
not needed. You're welcome.
david...@aol.com
Matthew B. Tepper
Like characters with operatic names were already unusual in his family.
david...@aol.com
> Like characters with operatic names were already unusual in his family.
A friend of my father's had children named Manrico, Tosca, and
Tristan. Tristan had a fairly successful career as a violinist in a
trio in Austria for a while. Don't know what's become of him.
-david gable
Richard Schultz
I had thought that Diva was a film that had a slick colorful style and
signified absolutely nothing. Now I realize that Diva was a film *about*
slick colorful style that signifies absolutely nothing. Thank you for
setting me straight. I can hardly wait for you to tell me what I missed
in _Weekend_, _Last Year at Marienbad_, and _The Bitter Tears of Petra
von Kant_.