feel like garbo...

Here is a fantastic performance by Nanci Griffith of Late Night Grande Hotel during Austin City Limits in the early 90s. As I've said before, Nanci performing one of her songs without playing the guitar is a rare treat. Of course I adore her finger-picking guitar playing, but she really wholly and completely immerses herself in her songs when without it. The lyrics to this one are pretty aching and you sense the experience she's had with those lonely times she sings about.

I feel like Garbo in this late night grande hotel
'cause livin' alone is all I've ever done well

Some criticize the slightly slicker sound of this song and others from this era, but this ranks up there as one of my favorite Nanci songs. Sure there is a bit of studio sheen on the cut, but the emotions displayed in the lyrics and her performance are just as raw and open as anything else she had written.

hello...

I’m ready to alter my dreamscape of one
Into a wonderland that we together have spun

It won’t always be light, some darkness will come through
But we’ll have each other, and this magnificent view

Hello…

trouble in the fields...

"Trouble In The Fields"

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This song popped into my head a couple of weeks ago and I was struck once again by the brilliant and timeless lyrics. The song follows a couple who live on a farm and are going through difficult financial times - but have the hope to get them through.

All this trouble in our fields
If this rain can fall, these wounds can heal
They'll never take our native soil.
And if we sell that new John Deere
And we'll work these crops with sweat and tears.
You'll be the mule, I'll be the plow
Come harvest time, we'll work it out.
There's still a lot of love
Right here in these troubled fields.

It's a beautiful sentiment that could certainly still apply today in our difficult economic times. It's wonderful to have Nanci remind that there is still a lot of love, right here in these troubled times and we really need to focus on that and it will get us through. Certainly easier said than done, but it's the way to do it.
This is a great live version - I love when it's just Nanci, her words and her guitar - not much beats that.

footsteps...

Nobody here
Never anybody here
I thought this was how I wanted it
Never minded it before, never one bit
Just lately this feeling is beginning to nag

I’d like somebody here
Someone to turn out the light
Someone to whisper goodnight
I’d like somebody here

I don’t think I’m asking much
Not for the stars and not for the moon
Not even for a whistle, not even for a swoon.
Just to have someone by my side
Who’s eyes I catch and whose eyes catch mine

I’d like somebody here
Someone to turn out the light
Someone to whisper goodnight
I’d like somebody here

So bring that somebody round
Oh how great will be the sound
Of the somebody’s key in the door
And the footsteps on the floor
Getting louder and louder as they approach…

I’d like somebody here
Someone to turn out the light
Someone to whisper, beautiful, goodnight
I’d like somebody here

So, when those footsteps, will I hear?

silent pictures...

My dreams are my compass
They tell me no lies
They speak to me in pictures
A feast for the eyes

There’s a man painting on the side of the road
Fields of grain surround him and the wind touches all
I wonder where he came from, among these vast fields
For I see no signs of human life, in this place untouched by sprawl

Then I blink and am suddenly in London
Where people are bustling about
Across the street I see hints of the sea
I hurry through a park, determinedly
To get to that vision of blue and sand.
And when I reach the shore and stand
And let the waves wash over me
I look from right to left and left to right
And see no one, no one in sight.

I dream of beautiful places
Of sunsets and oceans and vast fields of grain
Of old buildings and churches that are showing their strain
The visions are lovely and stay in my mind
And so does the one thing that I always find
I’m alone in my dreams, not willing to share
These marvels of landscape and sea and air

I’m the one creating these fairylands
They exist to comfort and scare me
So why cry a river when I look around
and see
No other soul
but me?

scene project take 18...

Repo: The Genetic Opera (2008) - Sarah Brightman







Repo: The Genetic Opera is a goth/rock/musical - kind of a cross between Rocky Horror Picture Show and Sweeney Todd. It is a unique film in that it's almost entirely sung (hence Opera in the title) and the cast is a very eclectic mix of people - Paul Sorvino, Anthony Head (the Buffy guy), Alexa Vega (the Spy Kids girl), Paris Hilton, Joan Jett in a very small cameo and the subject of this post, Sarah Brightman. This movie marks Ms. Brightman's film debut and one must admire her for her offbeat selection. Though I was not overly impressed with the film (but it is entertaining) Ms. Brightman, as the opera singer Blind Mag was the clear standout in the cast. First of all, she's the most accomplished singer in the bunch and is given the opportunity to go beyond her more classical image. Also, her costume and make-up are to die for and she seems right at home in the role. Blind Mag is a tragic figure who has basically sold her soul in order to see again - and she has been trapped in a dystopian world with no freedom. Her final contribution is to Shiloh (Vega), the daughter of her late best friend. She begs Shiloh to free herself from her own imprisonment and have the life that Blind Mag was unable to have. I was very impressed with Brightman's ability to convey the sadness and resignation that Blind Mag was feeling in her few scenes.

Above are captures of various scenes in the movie. The first is a great shot of Sarah in full-on goth mermaid mode; the second and third are from her scene with Shiloh; and the final 2 shots are of her final opera performance before her self-liberation that unfortunately does not end in her favor.

I recommend seeing the movie - the production design and costumes are very impressive and I will admit that Paris Hilton does a pretty good job and participates in one of the best musical numbers of the movie. Not my favorite film ever, but it's something different which I'm always up for.

bring on a high-heeled tranny...

Wow, it's been almost 2 months since I've posted anything! No more of that, please. Anyway, below is a video of Justin Bond performing his song, The New Depression. I saw Mr. Bond perform Rhiannon at Night of 1000 Stevies on May 14 and since then I've had a huge crush on him:) He is a supremely talented performer and this tune is fabulous! Enjoy it (and Justin's unique frock).

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scene project take 17...

To Kill a Mockingbird (1962)









To Kill a Mockingbird ranks among the most perfectly made films in all categories. First of all, it's one of the most faithful book adaptations that even had a thumbs up from the author, Harper Lee. And everything else about it rings so true, even almost 40 years later: pitch-perfect casting, beautiful cinematography and direction, absolutely timeless musical score, compelling story, rich characters, memorable opening and closing sequences, the great Kim Stanley as the film's narrator and on and on. It is a true American classic.

This is the most memorable moment for myself and I'm sure for many others. Atticus Finch (Gregory Peck) has just lost his noble battle in defending Tom Robinson (Brock Peters), a young black man accused of beating and raping a young white woman. It's a devastating blow in a case where he was clearly innocent. In this moment, Atticus is collecting his things and getting ready to leave. Everyone has exited the courthouse except for the black spectators (and Atticus' children, Jem and Scout) who are forced to sit in the stifling balcony. As he is preparing to leave, every one of them stands up to show their respect, admiration, appreciation, whatever you want to call it, for his great efforts. Reverend Sykes (Bill Walker) notices Scout is sitting down and he says, "Jean Louise. Jean Louise, stand up. Your father's passing." It's a scene that could have been overblown or overly sentimental. Instead, it's a quiet and brief, yet powerful moment when the people in the balcony show their respect for this man of justice and grace, and then go on with their day. There are no teary close-ups of Atticus, no hysteric shouting of gratitude, no over-the-top musical cues, just a realistic display of gratitude - and it's all the more powerful for it.

If you have not seen this film, please do yourself a favor and check it out. And on a lighter note, this movie may have the best character names ever thought up: Scout, Atticus, Jem, Dill, Boo, Calpurnia, Mayella, etc.

headin' down the runway like a man possessed...

Nanci Griffith Wednesday y'all!

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This is a terrific and actually tragic song written by Richard Dobson that tells the true story of a motorcycle stuntman who was killed attempting a new stunt. It's interesting because Nanci is smiling through the entire tune:) I guess she's trying to lighten the mood! Anyway, Nanci is backed by some pretty incredible musicians including Roy Husky, Jr. and Mark O'Connor and they are all in top form. The album version of this song is actually much different than this - it's a more rocking version with Phillip Donnelly offering an amazing electric guitar solo. But I really love this more roots/acoustic version as well.

I make a living playing these songs
and I hang out in bars
I play my guitar
Oh but honey I don't jump over cars

scene project take 16...

Judy Berlin (1999) - Madeline Kahn








Madeline Kahn. What could I possibly say about this incredible woman that hasn't been said already? Certainly one of the finest film comediennes ever to grace our screens. She had impeccable timing and a delivery that can never be matched. She could make ANY line funny or memorable...and I mean any line. ("I'm coming in!" Anyone?) One of the things that makes her stand out above the rest is her uncanny knack of making all of her characters have a soul that you cared about. Her most well-known characters: Lili Von Schtupp, Trixie Delight, Elizabeth, Eunice Burns, could have all easily become cartoon characters in someone else's hands. And though they certainly are outrageous and silly, Madeline had a talent for (similar to Judy Holliday) in really humanizing them into real people. The best example of this is probably Trixie Delight from Paper Moon which I will explain in a later post.

Judy Berlin was to be Madeline's final film before succumbing to ovarian cancer at the young age of 57. It is a brilliant swan song to a truly unique career. Alice Gold, her character, is an odd and troubled woman who is struggling with her relationships with both her husband and son. In this scene, she is roaming the streets of Babylon, New York during a long-lasting eclipse. At one point she runs into her what seems to be her psychologist. He seems concerned, almost afraid about how long the eclipse is lasting and Alice assures him everything will be alright. She jokingly states that in a crisis, she is actually very calm because then she and the world are finally speaking the same language.

She then has a touching little monologue about her husband Arthur (Bob Dishy) and how he once got up in the middle of the night to get a glass of water "and without asking, he got one for me. Without, without asking." Finally, she meets Arthur in front of their home and they have a beautiful and wordless moment that actually conveys volumes. They have a sort of apology and forgiveness moment for something that occurred earlier in the film. It's not actually completely wordless - in his moment of apology Arthur simply says "Hello" and this simple gesture is all Alice needed to hear and she replies back "Hello" with a hint of a smile. It's kind of a difficult moment to describe but it is wonderfully executed.

This is one of Madeline's greatest performances. She is very funny as always, but she also has an even more noticable depth that only grows with each viewing. Honestly, everytime I watch this I discover something new that she has done. For being largely known as a comedic actress in slapstick/toilet humor heavy films (I'm talking to you, Mel Brooks and I love you for it!), her subtlety can be astounding.

Madeline Kahn is absolutely a personal heroine for me and one who I am constantly talking about or quoting. ("Flames on the side of my face!") She was a great loss to both the film and theater community and I often wonder what she would be up to now. I really think that her work in Judy Berlin could have taken her career in a different direction and opened her up for more varied and demanding projects. I guess we'll never know. But I thank her wholeheartedly for sharing her gift with us in her many films. I read a quote from her once which I must paraphrase, she said, "I may be in trash sometimes, but I never treat is as such - never." And it's true, the lady was a true class act. Thank you Ms. Kahn!

i work this corner from eleven to five...

Nanci Griffith Wednesday!

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Here is Nanci at her most lyrically playful - singing from the point-of-view of a New York prostitute! She is clearly having a ball with this catchy number - I'm surprised this doesn't get covered more often. Her voice is wonderful here also - complete with her lovely growl:) It's interesting how her voice can be so delicate and feminine and at the same time so strong and fierce.

My personal favorite lyric:

This sidewalk ice is cold as steel
I'm not Dorothy, I can't click my heels
One of these days I'll move to LA
Where the nights stay warm and the boys come out to play

Nanci often incorporates New York into her songs - There's a Light Beyond These Woods, One Of These Days, Going Back To Georgia, Before (One day I was listening to Before on my ipod and when the lyric, It was snowing down on Bleecker Street came on, I realized I was walking down Bleecker Street and I couldn't help but smile) just to name a few. Perhaps because she was once going to move there, but was detoured to Nashville and there she stayed. I wonder how different her career would have been otherwise.

scene project take 15...

Torch Singer (1933) - Claudette Colbert






Claudette returns!
Torch Singer is a little known film that centers on Colbert having to give up her young daughter for adoption because she doesn't have the money to support her; and her subsequent struggle with that decision. This is a pre-Code film which are always fun to watch - Claudette wasn't married when she gets pregnant:O If this would have happened in a film made after 1934, either she or her baby would have probably died or she would have gone on to live a horrible, sad life.

Anyway, this is an early scene before she gives the little girl up and she is giving her and her roommate's son a bath. The reason I chose this scene is because it is a wonderful example of Colbert's gift with children on screen. Perhaps the images don't quite convey that, but you can kind of get the idea. Colbert is my favorite screen mother of all time - no matter what film she's in with kids. She has this amazing ability to really react honestly to whatever unrehearsed actions or words they might present her with. For instance, in that second shot, the little boy reached up and put his hand on her mouth - and she kissed his little hand as if it had been rehearsed. Obviously you can't have a baby do that on cue, so I'm sure it was completely spontaneous. She really knew how to be affectionate with a child in a way that was absolutely believable and tender.

This gift of Colbert's wouldn't be all that spectacular except for the fact that she herself never had any children. And yet time and again, her compassion and maternal warmth for her onscreen children was always palpable. In fact, whenever she would embrace her young child or comfort them, you really feel like she is embracing/comforting you. That may sound crazy, but I tell you it's true.

And I adore that final shot of her smiling at the proud young boy:)

scene project take 14...

Wit (2001) - Eileen Atkins







Wit is one of my go-to movies whenever I can't decide on anything else. It is supremely satisfying in the brilliant acting, writing, directing, music, balance between humor and drama, etc. I think Emma Thompson gives a master class in acting that should be studied by every would-be film actor. The story revolves around Vivian Bearing, a college professor of English literature who has stage 4 ovarian cancer and is an inpatient going through several rounds of chemotherapy.

In this scene, she is visited by her former professor and mentor Evelyn Ashford (Eileen Atkins). There is an earlier flashback scene with Professor Ashford that shows the root of Vivian's admiration of poet John Donne.

Here, Evelyn visits Vivian in the hospital during her final days. Vivian is barely concious but is clearly moved by Evelyn's appearance. Evelyn reads a children's book, The Runaway Bunny, to Vivian in an effort to comfort her (she has just purchased the book for her great-grandson). The tenderness in this moment is almost overwhelming. Vivian has received absolutely no visitors during her long stay in the hospital and Evelyn seems to be the only person Vivian has an affection for in her life. There is also a glorious piano ballad playing over this entire scene which perfectly underscores the mood. And then when Evelyn is leaving, she leans down to kiss Vivian's forehead and says, "And flights of angels sing thee to thy rest." The scene title on the DVD is Permission to Die which is exactly what Evelyn does here.

Eileen Atkins is brilliant in this moment largely because she is absolutely without melodrama in a scene that could easily drown in bathos in the wrong hands. She plays just the right notes (right along side the piano score) and not a word or a gesture is wasted. When she leaves Vivian's room, you really sense that this is the end - Evelyn has in a sense given Vivian her last rites and it's "time to go." An absolutely perfect film moment...check it out!

This is the Donne poem that is often cited throughout the film:

DEATH be not proud, though some have called thee
Mighty and dreadfull, for, thou art not so,
For, those, whom thou think'st, thou dost overthrow,
Die not, poore death, nor yet canst thou kill me.
From rest and sleepe, which but thy pictures bee,
Much pleasure, then from thee, much more must flow,
And soonest our best men with thee doe goe,
Rest of their bones, and soules deliverie.
Thou art slave to Fate, Chance, kings, and desperate men,
And dost with poyson, warre, and sicknesse dwell,
And poppie, or charmes can make us sleepe as well,
And better then thy stroake; why swell'st thou then;
One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.

answer only with your eyes...

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Nanci Griffith Wednesday!

So sorry that I missed last week, but I came home from work and went right to bed. But I have a really great one this time around.

This is Nanci singing with Emmylou Harris and Iris Dement on Are You Tired of Me Darlin? First of all, Nanci has another one of her sweet and humorous intros complete with brilliant comic timing in the line "And tonight, me, I'm Chet." Second of all, having Nanci, Emmylou and Iris singing on a song together is like pure musical transcendence in my opinion. The three of them hold 3 of the most unique and powerful voices out there and they blend together exquisitely. I really think they should consider doing a Trio album, a la Emmylou, Dolly Parton and Linda Ronstadt - and then take it on the road for all to enjoy:)

Enjoy! This is awesome!

scene project take 13...

Mummy an' the Armadillo (2004) - Betty Buckley







This is a fun one:)

Mummy an' the Armadillo concerns a young woman who is held hostage by a crazy family at their roadside café. Betty Buckley plays the always-drunk matriarch of the family and she is on full-on crazy awesome mode! Unfortunately, Betty only has this scene and another small one at the end of the movie - and the film really suffers for it. It's actually a lot better than I thought it would be, but Betty is such a force in this sequence that you really miss her Jack Daniels-swilling lady once she passes out.

It's wonderful watching Betty so convincingly play this seemingly evil woman (though she does have some redeeming qualities that Betty hints at with her marvelously expressive face) next to watching her play the warm and loving women of her past such as Abby Bradford and Miss Collins. Her range is pretty remarkable. And I LOVE that final screen shot because it's right after she says that she's worried about her son because he must be crazy - and then makes THAT face:) Gotta love Betty!

scene project take 12...

The Yearling (1946) - Jane Wyman








This one was a real struggle in choosing only one scene. Jane Wyman is picture perfect in the role of Ory (Ma) Baxter and any scene she's in deserves a scene project post. But I decided on this one...the final scene in the film. The film revolves around the Baxter family who are struggling on their farm. The family consists of Pa (Gregory Peck), Ma (Jane) and young Jody (Claude Jarman, Jr.). Pa and Ma have had 3 other children die at very young ages and it has had a deep affect on Ma in particular. She has decided to shut herself off emotionally so that she won't feel the pain again - unfortunately it causes her to be cold and unloving toward young Jody. Much goes on the movie, but in this scene Jody has returned home after running away and I am highlighting Ma's reaction.

In the context of the movie, this is a pretty intense moment because Ma has shown very little emotion or love toward her son prior to this scene. In fact, she's so overcome by her joy that her cries of happiness are almost choking her because she's kept them inside for so long. There is a devastating line when she says, "I thought I'd lost them all!" But then when she focuses on Jody's return she decides to go and see him. Her reunion with Jody is wonderful because Wyman plays it so expertly. She is a bit cautious in the beginning, just gently stroking his hair as you see in the third shot. But then she throws all caution to the wind and takes Jody in her arms for an emotional climax. And I had to include that shot of Gregory Peck because his reaction to the moment was absolutely identical to my own (I love when that happens:)).

Like I said, Wyman is fantastic in this role - she really seems to understand Ma's travails and has a deep, emotional connection with her throughout the whole film. Though Jody is the center of the story, it's really Ma who goes through the most dramatic change and has the most complex and interesting character arc. Wyman was nominated for an Academy Award for Best Actress in what was essentially her first foray into drama. She had done largely comedies and musicals in the past - this movie, along with The Lost Weekend, really shifted her career in another direction.

For more info on my thoughts on Wyman's bravura turn please read this article:

http://goldenageofhollywood.co.uk/Yearling.html

Thanks!

scene project take 11...

Little Women (1994) - Claire Danes







Classic tearjerker scene - Beth's death in Little Women. In my opinion, Danes knocks it out of the park here...perfectly capturing Beth's simple wisdom and purity of the heart and soul. She's practically angelic in her last moments. Danes is aided by Winona Ryder as Jo and composer Thomas Newman's gorgeous score...one of his best.

One line that always alerts the water works to start a-flowin':

"Why does everyone want to go away? I love being home. But I don't like being left behind. And now I am the one going ahead. I am not afraid. I can be brave like you."

scene project take 10...

The Razor's Edge (1946) - Anne Baxter








Just look at Anne Baxter's world-weary eyes...a heartbreaking picture of a broken woman who has all but given up. Anne plays Sophie, a young woman who's husband and young son were tragically killed in a car accident while she survived. She ends up in this seedy Paris bar where she drinks away her sorrows and keeps company with a "sulky brute." In this scene, Sophie's American friends have accidentally stumbled into this place and they find Sophie in this shocking state.

One thing that always strikes me about Baxter in this scene is how absolutely modern she looks - the ponytail, the black choker, the smudgey eye make-up and even her black dress. You could see her in any modern-day film tragedy. But that's just what visually grabs me. Baxter's already mentioned world-weariness is so palpable it almost hurts and the effect it has on the other actors in the scene is very apparent. They seem to genuinely be both concerned for and frightened by her. Hers is a devastating portrayal that deservedly earned her the Oscar for Best Supporting Actress - perhaps my favorite choice in that category ever. And if this scene isn't brilliant enough, Anne gives us an equally powerful moment later in the film. But you'll have to watch it...

here's to all the dreamers...

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It's Nanci Griffith Wednesday, everybody!!

This is another beautiful tune from her Other Voices, Other Rooms concert video. This video stands out for me partly because of the absolutely masterful backup she gets from The Blue Moon Orchestra. Particularly Mr. James Hooker on the keys. Sadly, he no longer tours with Nanci which is really too bad because his contribution is so massive. Listen to the section at 1:30 - James adds a brilliant little touch that gives me goosebumps everytime - it evokes such emotion and imagery that it's reminiscent of a film score in that moment.

The support the band gives perfectly complement Nanci's heartfelt lyrics and voice.

Where are all the dreamers... that I used know?
We used to linger beneath street lamps in the halos and the smoke
The wing and the wheel... came to carry them away
Now they all live out in the suburbs where their dreams
Are in their children at play

if these old fashioned window panes had eyes...

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Nanci Griffith Wednesday is upon us with If These Walls Could Speak.

This performance was for the live performance of the Red Hot+Country album that came out in the early 1990s, headed by Kathy Mattea. Nancy's contribution was this beautiful song by Jimmy Webb.

You'll notice that Nanci is without her guitar in this video. Now, whenever that happens (such as in old performances of From a Distance), something magical tends to happen. It's almost as if without the protection of her guitar, Nanci is at her most open and vulnerable; her passion and connection to the song is even more palpable. In addition, her wardrobe here is even more downplayed than usual so she is really only armed with her powerful voice and the conviction of her performance. Eyes are certainly the windows to one's soul and Nanci has left those windows wide open. The famed Blue Moon Orchestra backs her up brilliantly and it really showcases their range as musicians.

This is a performance of uncommon grace and tenderness and the audience is clearly moved by it - offering Nanci rapturous applause even before the song is completed.

Definitely a favorite of mine that gets better each time I watch it.

well, lugori...

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Oh man, this scene always gets to me - and it's a bit of a surprise because for most of the movie, the subject matter is pretty light and humorous, but there are several unexepected and thoroughly moving sections placed along the way. Most of this is due to Rosalind Russell's fantastic performance as the Reverend Mother of the St. Francis School for Girls.

In this scene, Sister Lugori, one of the nuns who was a vibrant woman full of spunk and beloved by all the students, suddenly dies. The young rebel of the school, Mary (Hayley Mills), is coming to pay her respects and happens upon Reverend Mother's emotional farewell to her dear friend. It's the first time Mary really sees the Mother as a real person with depth and feeling. The scene is also shot flawlessly by director Ida Lupino (who will also make an appearance in a later "scene project" entry).

scene project take 9...

Bad Manners (1997) - Bonnie Bedelia

So, clearly if you've been reading at all, I have a love for strong, intelligent and clever actresses. Well it all started with Bonnie Bedelia. Though she may seem a slightly unorthodox choice, she was the first actress that I truly admired. I tried to go and see all of her films that I could find (a tradition which still continues with each new favorite). She is mostly known for playing Bruce Willis' wife in the first two Die Hard movies, but she is capable of much more than that. She has a gorgeously expressive face that conveys volumes and I could watch her all day long.

Bad Manners is a terrific film that I think me and maybe 3 other people saw. It's a Who's Afraid of Virginia Woolf-esque four-hander about 2 couples facing off during several days: fueled by alcohol and repressed desire and armed with sharp dialogue (one of my favorites uttered by Ms. Bedelia: "and you use your self-pity - the way another man would use drink: to dredge up the shriveled sack of gall that passes for you as guts.")

Bonnie Bedelia plays Nancy who is married to Wes (David Strathairn). One of Nancy's college friends Matt (Saul Rubinek) comes to visit with his girlfriend Kim (Caroleen Feeney); and the sparks begin to fly. Nancy and Wes' marriage has lost some of its flair and the young and dangerous Kim may or may not have tempted Wes to adultery.

This scene takes place after Matt and Kim have left. It's a very simple and quite humorous chat between Nancy and Wes where Wes is describing the work he'd like to do in the backyard. They seem to really be hitting it off and Wes gives Nancy a little kiss - she is obviously touched and affected by the gesture, but it's clear that Wes is not...it's a devastating moment of realization on Bonnie's face that he no longer feels the sparks between them. You can really see the disconnect between the two in that final still.

soon it will be morning...

I am a huge Betty Buckley fan. I've seen her in concert 4 times (all within 6 months) and am always blown away by her incredible vocal prowess and her underrated talents as an actress. This now-famous video of her singing her signature tune, "Memory" (from Cats) at the Tony Awards, was my first introduction to her legendary singing pipes. Now, make fun if you will, but Memory is a stunner of a song and though it's been sung to death, it still has the power to move me...especially when La Buckley is singing it. The first time I saw her sing this song in person, may very well be the most thrilling experience I've ever had at a concert. She really and truly did become Grizabella at that moment - and the fact that it was probably the 2,083rd time that she'd sung the song and still imbued it with such freshness and spirit is a testament to her talent.

This particular performance here is famous for her belting in the line, "Touch me, it's so easy to leave me..." and rightly so. Everytime I hear her do it, it sends chills up my spine. And notice that it doesn't appear to be any strain on her whatsover....that difficult note comes out as naturally as a sigh.

I always wonder what audiences at that time (1983 I believe) thought of Betty's sudden stardom on the Broadway stage. Because she had recently ended her 5-year stint on the TV show Eight is Enough as the warm and sympathetic step-mom, Abby Bradford. I just can't imagine watching an actress you've only known as a lovely TV mom suddenly come out and perform like this. She was on Broadway before, but not quite at this level.

Anyway, I could go on and on...Betty rocks!


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there was somebody else in there...

Nanci Griffith Wednesday (actually Thursday...)!!

Here is Nanci duetting with her ex-husband and super-talented singer-songwriter, Eric Taylor. This is a beautiful tune that Mr. Taylor wrote with one of my favorite lyrics,

Burn like the lonesome in a young girl's eyes

The main attraction for me in this vid is Nanci's adorable intro to the song where she may break the record for saying the word "married" more times in a 1 minute span. I just love her sweetness and humor here and she really gives Mr. Taylor the spotlight.



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scene project take 8...

Pollyanna (1960) - Agnes Moorehead









Pollyanna is one of my favorite movies that was introduced to me as a child. Whenever I'm feeling a bit blue, I just pop this in and I feel glad again. For those not familiar, it's the story of a young girl who comes to the small town of Harrington to live with her rich aunt after her parents die. She is a breath of fresh air in the stuffy town and brings joy and positive thinking to everyone she comes across.

In this scene, Pollyanna meets Mrs. Snow played by the legendary Agnes Moorehead. Mrs. Snow is the definition of curmudgeonly and is always making plans for her imminent death, though she is hardly ill. Pollyanna has brought some food generously donated from the town's Ladies Aid Society. Mrs. Snow first appears annoyed and insulted by the young girl and tells her she has "a stubby little nose", but with the help of some rainbow-making prisms, Pollyanna even wins over the impossible Mrs. Snow. It's a lovely little scene with Agnes nailing every line (my personal favorite: "And the doctor: all he gives you is pills - pills and bills, just pills and bills, that's all" A line which I often incorporate into my everyday speech).

Along with Hayley Mills who gives one of the most impressive child performances I've ever seen, this film also boasts an extremely impressive adult cast: the aforementioned Moorehead, Jane Wyman (who will be showing up in later posts), Karl Malden, Adolph Menjou, Richard Egan, Nancy Olson, Donald Crisp and little Kevin Corcoran of Old Yeller and Swiss Family Robinson fame. Though the movie may sound a bit frothy, it's message is a powerful and important one: always try and look for the good in people, because "when you look for the bad in mankind, expecting to find it, you surely will."