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A COVENANT WITH DEATH - w/George Maharis
PICASSO SUMMER - w/great Legrand score
One of Legrand's best scores.
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Poster from I LOVE TROUBLE can't possibly be authentic.
Check out those nips!
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Posted: |
Dec 29, 2017 - 3:31 PM
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By: |
filmusicnow
(Member)
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Set in the rural Appalachian mountains, WHERE THE LILIES BLOOM follows fourteen-year-old "Mary Call Luther" (Julie Gholson) as she cares for her siblings in the wake of her mother’s death and the illness of her father, "Roy Luther" (Rance Howard). William A. Graham directed the 1974 film. Earl Hamner, Jr. ("The Waltons") scripted the film from Vera & Bill Cleaver's 1970 novel.
Bluegrass banjoist Earl Scruggs wrote and performed the film's score, with his band The Earl Scruggs Revue. Columbia Records released an LP of the score, which has not been re-issued on CD. After receiving generally positive reviews, the film fared well at theaters. Howard Thompson of The New York Times called the picture "an endearingly simple, honest and moving film...this beautiful little movie is like a cool, clear dip of mountain spring water."
WHERE THE LILIES BLOOM had a VHS release in 1993, but has not been issued on DVD.
Thanks for bringing this and I Love Trouble to our attention Bob. They've both been added to the Pinterest board here: https://www.pinterest.com.au/TheCinemaCafe/the-community-chest-most-wanted-by-fans-on-dvd-or-/
Though not credited on the original poster, Morton Stevens was credited as "music supervisor" in the film's opening credits and the film's was last seen on Antenna T.V. in 2015.
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Posted: |
Dec 31, 2017 - 5:04 PM
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By: |
Bob DiMucci
(Member)
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In 1941, Kenyon J. Scudder founded the California Institution for Men at Chino, an experimental "prison without walls," armed guards, uniforms, or gun towers, that is still in existence. The prison’s system devised by Scudder, which appealed to the inmates’ sense of self-respect, attempted to rehabilitate the men rather than punish them.
In 1952, Scudder published his book about his experiences, Prisoners Are People, and was offered $60,000 by a major studio interested in filming the story. Because he wanted to retain story approval, he rejected the offer and instead chose Hall Bartlett to make the film, titled UNCHAINED, because Bartlett was committed to making films that did not emphasize unnecessary sex and violence. Scudder agreed to receive $5,000 before production began and fifteen percent of the film’s profits.
Bartlett spent three months living inside the prison, interviewing inmates and observing, and had his script approved by Scudder and his wife, and the Chino Men’s Council, the committee of elected inmates depicted in the film. The incidents portrayed in the film were either actual events or those that could have occurred. The film was shot on location at Chino, and Bartlett stated that production was a highly cooperative venture in which everyone involved with the film received a copy of the script. Crew members were encouraged to provide input, and Bartlett believed that suggestions given by the crew resulted in a shortened production schedule.
The film had simultaneous premieres in the local Chino theater and the Chino prison, where the mess hall was dressed to look like the lobby of a Hollywood theater and at which several celebrities attended. Scudder’s life was showcased on the NBC television show, "This Is Your Life," on which portions of the film were shown. The film received several awards and merits, among them a special merit award from Parents Magazine, the 1955 National Brotherhood Award for outstanding contribution to the cause of brotherhood, and a special award from the Southern California Motion Picture Council. The film was shown at the London Prison Congress and the World Prison Congress in Geneva, where it was described as the “true story of the greatest advance in prison history."
Playing the role of “Bill Howard” was singer Todd Duncan, who had portrayed “Porgy” in the original Broadway production of "Porgy and Bess." Duncan sang a hymn and the film's title song, “Unchained Melody,” which was nominated for an Academy Award for Best Song but lost to “Love Is a Many-Splendored Thing.” "Unchained Melody" was selected as the number one top song of 1955 through a compilation of all music popularity contests, according to a January 1956 Hollywood Reporter news item. Three recordings of the song were made in the rhythm and blues style by Roy Hamilton on the Columbia label, Al Hibbler on Decca, and Leroy Lovett on the Atlantic label. It was also recorded by Liberace, who performed it on his television show, and Les Baxter and his orchestra. It remained a standard through the years and its popularity revived when it was featured in the 1990 Paramount release GHOST, which was directed by Jerry Zucker and starred Patrick Swayze and Demi Moore. That film featured another popular version of the song as performed by the Righteous Brothers.
UNCHAINED has not been released on any home video format. Although the film was distributed by Warner Bros., Hall Barlett was the original sole copyright holder of the film. Upon renewal of the film's copyright in 1982, ownership was transferred to National Telefilm Associates. That would make it the current property of Paramount.
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LAFAYETTE ??????
I believe this was a Cinerama title
??????
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Posted: |
Feb 14, 2018 - 9:22 PM
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By: |
Bob DiMucci
(Member)
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LAFAYETTE ??????
I believe this was a Cinerama title
??????
LAFAYETTE (1962) was a French-Italian co-production filmed in Yugoslavia. Involving 300 actors, 50,000 extras, and 5,000 horsemen, including a number of battle scenes and naval action, it was the most expensive film made until that time. The French version was the most complete, running 158 minutes plus intermission. The Italians cut it down to 115 minutes. And the dubbed American version ran just 110 minutes.
Jean Dreville directed the film. The score was by Pierre Duclos and Steve Laurent. About 11 minutes of the music was released on a French EP from Philips, but it has not re-surfaced on CD.
The film was photographed in Technirama, with a 35mm 8-perf frame running horizontally through the camera, with an anamorphic squeeze added. It was printed onto 70mm film for release as Super Technirama 70. The film was also optically converted to three-panel Super Cinerama and released in parts of Europe by Cinerama Corp.
In 1988, Jean Dréville wanted to restore the movie for the Bicentenary of the French Revolution, but the original negative was lost. So he asked for the help of the American distributors to find old prints of the film with the aim to recreate a new negative. Fortunately, with a lot of patience and efforts, he succeeded in the restoration of the film with the same quality as at the time of the premiere at the Opera of Paris in 1962. It was shown at the first French “CinéMémoire Festival” of Paris in 1991.
In 1997, Canal+ Video released a VHS/SECAM tape of the film in widescreen. The tape ran 142 minutes. In addition to not being compatible with the U.S. NTSC television system (or the PAL system for that matter), the tape is in French only. There is no known DVD release.
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Posted: |
Feb 24, 2018 - 3:47 PM
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By: |
Bob DiMucci
(Member)
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THE SUBTERRANEANS is a glossy study of life and love among the beatniks, based upon the Jack Kerouac novel. After being discharged from the Navy in WWII, novelist and poet Jack Kerouac (1922—1969) roamed the United States taking odd jobs. He began writing in an unedited, spontaneous style which questioned the 1950s American ideals of family and industry. Kerouac coined the term “beat,” an apolitical, anti-establishment literary movement based on self-discovery through experimentation with jazz, hallucinogenic drugs, sex, and Zen Buddhism. In the original novel, Kerouac's protagonists are a French Canadian author and a black woman, instead of the American athlete (George Peppard) and French woman (Leslie Caron) portrayed in the film.
The film begins with this written prologue: "This is the story of a new Bohemia . . .where the young gather to create and to destroy. In all times, in all cities for good and for evil, the young Bohemians have been the makers of the future. They are foolish and they have genius. You will find them on the Left Bank in Paris, in London's Soho, in Greenwich Village and here in San Francisco, in the area known as North Beach."
The film was a major departure for producer Arthur Freed, who had earlier produced 40 MGM musicals. Alex Segal was originally set to direct the film, but quit the assignment. Freed then hired brothers Denis and Terry Sanders to be director and associate producer respectively, but fired both after two weeks of shooting. Reportedly, a disagreement about the portrayal of the “beat generation” and the Sanders brothers’ characterization of "Mardou's" (Caron's) sexual promiscuity caused Freed to replace them with director Ranald MacDougall.
Andre Previn provided the music, and he also appears onscreen with such jazz artists as Gerry Mulligan, Carmen McRae, Art Pepper, and Art Farmer. It was the first onscreen appearance for Gerry Mulligan, as well as for Previn, who plays a harpsichord in a live jazz club scene with musicians Russ Freeman and Shelly Manne.
THE SUBTERRANEANS has not been released on any home video format. The 1960 film was originally copyrighted by Loew's Inc. & Arthur Freed Productions, Inc. The copyright was renewed in 1988 by Turner Entertainment, and in the intervening three decades, the film has turned up occasionally on Turner Classic Movies.
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In 1941, Kenyon J. Scudder founded the California Institution for Men at Chino, an experimental "prison without walls," armed guards, uniforms, or gun towers, that is still in existence. The prison’s system devised by Scudder, which appealed to the inmates’ sense of self-respect, attempted to rehabilitate the men rather than punish them.
In 1952, Scudder published his book about his experiences, Prisoners Are People, and was offered $60,000 by a major studio interested in filming the story. Because he wanted to retain story approval, he rejected the offer and instead chose Hall Bartlett to make the film, titled UNCHAINED, because Bartlett was committed to making films that did not emphasize unnecessary sex and violence. Scudder agreed to receive $5,000 before production began and fifteen percent of the film’s profits.
Bartlett spent three months living inside the prison, interviewing inmates and observing, and had his script approved by Scudder and his wife, and the Chino Men’s Council, the committee of elected inmates depicted in the film. The incidents portrayed in the film were either actual events or those that could have occurred. The film was shot on location at Chino, and Bartlett stated that production was a highly cooperative venture in which everyone involved with the film received a copy of the script. Crew members were encouraged to provide input, and Bartlett believed that suggestions given by the crew resulted in a shortened production schedule.
The film had simultaneous premieres in the local Chino theater and the Chino prison, where the mess hall was dressed to look like the lobby of a Hollywood theater and at which several celebrities attended. Scudder’s life was showcased on the NBC television show, "This Is Your Life," on which portions of the film were shown. The film received several awards and merits, among them a special merit award from Parents Magazine, the 1955 National Brotherhood Award for outstanding contribution to the cause of brotherhood, and a special award from the Southern California Motion Picture Council. The film was shown at the London Prison Congress and the World Prison Congress in Geneva, where it was described as the “true story of the greatest advance in prison history."
Playing the role of “Bill Howard” was singer Todd Duncan, who had portrayed “Porgy” in the original Broadway production of "Porgy and Bess." Duncan sang a hymn and the film's title song, “Unchained Melody,” which was nominated for an Academy Award for Best Song but lost to “Love Is a Many-Splendored Thing.” "Unchained Melody" was selected as the number one top song of 1955 through a compilation of all music popularity contests, according to a January 1956 Hollywood Reporter news item. Three recordings of the song were made in the rhythm and blues style by Roy Hamilton on the Columbia label, Al Hibbler on Decca, and Leroy Lovett on the Atlantic label. It was also recorded by Liberace, who performed it on his television show, and Les Baxter and his orchestra. It remained a standard through the years and its popularity revived when it was featured in the 1990 Paramount release GHOST, which was directed by Jerry Zucker and starred Patrick Swayze and Demi Moore. That film featured another popular version of the song as performed by the Righteous Brothers.
UNCHAINED has not been released on any home video format. Although the film was distributed by Warner Bros., Hall Barlett was the original sole copyright holder of the film. Upon renewal of the film's copyright in 1982, ownership was transferred to National Telefilm Associates. That would make it the current property of Paramount.
Thanks so much for the wealth of information regarding this important title. It has been added to our Pinterest Board!
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LAFAYETTE ??????
I believe this was a Cinerama title
??????
LAFAYETTE (1962) was a French-Italian co-production filmed in Yugoslavia. Involving 300 actors, 50,000 extras, and 5,000 horsemen, including a number of battle scenes and naval action, it was the most expensive film made until that time. The French version was the most complete, running 158 minutes plus intermission. The Italians cut it down to 115 minutes. And the dubbed American version ran just 110 minutes.
Jean Dreville directed the film. The score was by Pierre Duclos and Steve Laurent. About 11 minutes of the music was released on a French EP from Philips, but it has not re-surfaced on CD.
The film was photographed in Technirama, with a 35mm 8-perf frame running horizontally through the camera, with an anamorphic squeeze added. It was printed onto 70mm film for release as Super Technirama 70. The film was also optically converted to three-panel Super Cinerama and released in parts of Europe by Cinerama Corp.
In 1988, Jean Dréville wanted to restore the movie for the Bicentenary of the French Revolution, but the original negative was lost. So he asked for the help of the American distributors to find old prints of the film with the aim to recreate a new negative. Fortunately, with a lot of patience and efforts, he succeeded in the restoration of the film with the same quality as at the time of the premiere at the Opera of Paris in 1962. It was shown at the first French “CinéMémoire Festival” of Paris in 1991.
In 1997, Canal+ Video released a VHS/SECAM tape of the film in widescreen. The tape ran 142 minutes. In addition to not being compatible with the U.S. NTSC television system (or the PAL system for that matter), the tape is in French only. There is no known DVD release.
Thanks for reporting on this... (added to our board).
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