this was confirmed by her son, Tim Barker, on the board devoted to Ms Hayward - at Ginger's Susan Hayward Homepage - that she was never interviewed by Dick Cavett.
I hope that the Hayward homepage is still around on another server because Yahoo is deleting its Geocities web sites.
.....How many of these "hard story" film did she make? Seems like she got type cast into the hard luck film category.....
Actually, Hayward was quite lucky throughout her career and didn't really get typecast much at all.
She did period epics/dramas like DAVID AND BATHSHEBA, THE CONQUEROR, THE PRESIDENT'S LADY and DEMETRIUS AND THE GLADIATORS---biographies like I'LL CRY TOMORROW, I WANT TO LIVE, and WITH A SONG IN MY HEART---romantic dramas like MY FOOLISH HEART, STOLEN HOURS (the remake of DARK VICTORY), THE SNOWS OF KILIMANJARO, WOMAN OBSESSED and BACK STREET---action-adventures like REAP THE WILD WIND, TAP ROOTS, UNTAMED, THUNDER IN THE SUN, THE FOREST RANGERS, SOLDIER OF FORTUNE, WHITE WITCH DOCTOR and TULSA---comedies like MARRIAGE-GO-ROUND, TOP SECRET AFFAIR, YOUNG AND WILLING, SIS HOPKINS---westerns like RAWHIDE, CANYON PASSAGE, THE LUSTY MEN, and GARDEN OF EVIL---romantic "fantasy" films like I MARRIED A WITCH and THE LOST MOMENT, contemporary dramas like HOUSE OF STRANGERS, I CAN GET IT FOR YOU WHOLESALE, I THANK A FOOL, and ADA.....
In short, Hayward had a very special and lucky career, NEVER being typecast, but appearing in all kinds of genres---reminding one of the career of Barbara Stanwyck.
Another jewel from FSM, I went gah-gah for this upon its release in 2004. endquote]
How many of the sonmgs are on this CD? Someone mentioned only 3 sung by Hayward but aren't there 5 with her vocals e.g., Happiness Is Just A Thing Called Jow Sing You Sinners When The Red Red Robin ... I'm Sittin' On Top Of The World The Vagabond King Waltz
I'll Cry Tomorrow is easily my favorite FSM release; it's always close to my physical person.
(My most played would be Pelham 123 and Bullitt - if you're a jazzer, like me, you've listened to those 2 until you knew every change!)
But back to I'll Cry Tomorrow. The three songs: Sing You Sinners; The Red Red Robin; and Happiness Is A Thing Called Joe. Awesome, just like the rest of the score.
Should we consider these songs something like a "hard swing?" I say "hard" bc it's definitely more intense and bluesy than the typical Penn 6500, In the Mood, Stella by Starlight, etc. And I'm having a difficult time identifying these songs as typical "bop" - like Miles Davis, Coltrane, Mingus, etc.
I suppose I could pose the same question regarding Waxman's Crime in the Streets, or Alex North's Streetcar Named Desire, but the Alex North I'll Cry Tomorrow score is where I am today.
Reading through this thread again reminds me of being a kid, because I asked the question and the "adults" took it from there, regaling us wee ones with their always-fascinating conflicting 1950s reminiscences.
I love this score, and it's as accessible as North gets, though I disagree with the notion that his music is somehow "difficult."
Another jewel from FSM, I went gah-gah for this upon its release in 2004. Alex North was largely unknown to me, but hearing I'll Cry Tomorrow's main title on the 1999 Rhino MGM compilation got me interested in his work. I also liked I'll Cry Tomorrow's similarity to "A Streecar Named Desire" with its swanky, jazzy feeling.
For me, the best bits of North's underscore are the psychological/character themes that come together so well on "Stood Up/Shattered/Tortured." However, the biggest surprise may be Susan Hayward's gorgeous, haunted vocals, particularly on the title tune where her phrasing is as good as any professional chanteuse working during the 1950s. Hayward's voice is sad and just so beautiful. Listen to her when she sings on the single version of the title tune, "Who could say to a heart that's full of spring/they've written a blue song/for us to sing"; it gets me every time. I must have listened to that vocal alone sixty times when I first got the CD.
Listened to this last night and man oh man is "Home Sweet Home/This is it/Hold it" and "Stood Up/Shattered/Tortured" some tense yet hauntingly beautiful music; oh how I love it so. Makes me want to watch, say, Douglas Sirk films and walk around all repressed and tightly wound, like so many other FSMers.
As Miles Davis once said, "F*ck jazz! Alex North is the man!"
Nobody could write sleazy movie jazz like Alex North. Two missed opportunities with Alex North:
1) Miles Davis praised North's A Streetcar Named Desire, saying that if anyone could write symphonic jazz, it was North. Such a shame that North and Davis never collaborated; of course, Gil Evans magnificently provided larger forces for Davis whenever needed. Still . . .
2) Carle Bley, the great jazz composer and arranger who died within the last couple of years, provided first-rate arrangements of works by Rota, Weill, and Monk for Hal Wilner's composer tributes. Oh, what she could have done with Streetcar music.
Eo you know Maria Schneider's work? She's another big bander, love her music. And she did a great version of the Spartacus love theme. I know the album version (on one of her first records, Coming About), but here's a live version
Maria Schneider & WDR Big Band Germany 2006 Love Theme from Spartacus
