Nanci Griffith Wednesday!
href="">
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.
Wednesday, March 31, 2010
Monday, March 29, 2010
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:)
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:)
Sunday, March 28, 2010
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.
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.
Wednesday, March 24, 2010
answer only with your eyes...
href="">
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!
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!
Sunday, March 21, 2010
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!
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!
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!
Monday, March 15, 2010
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."
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."
Sunday, March 14, 2010
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...
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...
Tuesday, March 9, 2010
here's to all the dreamers...
href="">
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
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
Wednesday, March 3, 2010
if these old fashioned window panes had eyes...
href="">
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.
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.
Tuesday, March 2, 2010
well, lugori...
href="">
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).
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).
Subscribe to:
Posts (Atom)
