Archive
POCAHONTAS – Alan Menken and Stephen Schwartz
THROWBACK THIRTY
Original Review by Jonathan Broxton
The idea to make a movie about the life of Pocahontas was first pitched to Walt Disney studios in 1990, shortly after the success of The Little Mermaid, and as Beauty and the Beast was in production. The studio was looking to diversify its slate with more mature, emotionally grounded stories, and chairman Jeffrey Katzenberg was eager to pursue more prestigious, award-caliber projects. He saw Pocahontas as a chance for Disney to do a “serious” animated film with Oscar potential, aimed at adults as much as children, and described the film as potentially Disney’s equivalent of West Side Story or Dances with Wolves – emotionally resonant, message-driven, and grounded in real-world conflict. Mike Gabriel and Eric Goldberg were hired as directors, and during development Pocahontas was considered the “prestige” project compared to another film in development simultaneously – The Lion King. Many animators reportedly lobbied to work on Pocahontas, which was expected to win awards, while The Lion King was seen as the “B project,” although ironically it was The Lion King that would become a much bigger global phenomenon, both critically and commercially. Read more…
IL POSTINO – Luis Enríquez Bacalov
THROWBACK THIRTY
Original Review by Jonathan Broxton
One of the most surprising global hits of the 1990s was Il Postino, The Postman, an Italian romantic drama film based on the novel Ardiente Paciencia by Antonio Skármeta, and directed by English filmmaker Michael Radford. The film is set in the early 1950s on a small, picturesque island off the coast of Italy and centers on Mario Ruoppolo, a shy and uneducated local man who takes a job as a postman. His only task is to deliver mail to Pablo Neruda, the famous Chilean poet, who has taken refuge on the island after fleeing Augusto Pinochet’s government and going into political exile. As Mario and Neruda begin to interact, Mario becomes fascinated by the poet’s charisma, politics, and especially his romantic use of language; eventually, Mario seeks Neruda’s guidance in learning how to express himself, particularly because he has fallen in love with Beatrice Russo, a beautiful but reserved woman who works at a local café. Read more…
THE KING AND I – Richard Rodgers, Oscar Hammerstein II, Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1950 composer Richard Rodgers and lyricist Oscar Hammerstein II adapted the play “Anna and The King of Siam” (1944) by Margaret London into a Broadway Musical titled “The King And I”. It had a very successful run of 1,246 performances and in 1951 they secured backing from Darryl F. Zanuck of 20th Century Fox Studios to do a film adaptation. Charles Brackett was assigned production with a $4.55 million budget, Ernest Lehman was hired to write the screenplay, Jerome Robbins was tasked with creating the choreography, and Walter Lang given the reins to direct. Casting was problematic as Rodgers rejected Maureen O’Hara who had a trained soprano voice, which led to Deborah Kerr landing the role of Anna Leonowens, although her singing voice required dubbing by Marni Nixon. Joining her would be Yul Brynner as King Mongkut of Siam, Rita Moreno as Tuptim, Terry Sanders as Lady Thiang, Martin Benson as Kralahome, and Rex Thompson as Louis Lenowens. Read more…
OKLAHOMA! – Richard Rodgers, Oscar Hammerstein II, Adolph Deutsch, Robert Russell Bennett, and Jay Blackton
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1943 Richard Rodgers and Oscar Hammerstein II’s “Oklahoma!” opened on Broadway and ran for an unprecedented 2,212 performances. Studios began a bidding war to acquire the film rights in hope of capitalizing on the play’s phenomenal success. Eventually Magna Theatre Corporation prevailed, purchasing the rights for an astounding $1 million. It would take eleven years to get the project off the ground as the company insisted on using a new widescreen filming process called “Todd-AO”. Arthur Hornblow Jr. was assigned production with a $6.8 million budget, Sonya Levien and William Ludwig were hired to write the screenplay, Agnes de Mille would stage the choreography, and Fred Zinneman would direct his first, and only musical of his career. A fine cast was assembled, which included Gordon MacRae as Curly McLain, Shirley Jones as Laurey Williams, Gloria Grahame as Ado Annie Carnes, Charlotte Greenwood as Aunt Eller, Rod Steiger as Jud Fry, Gene Nelson as Will Parker, and Eddie Albert as Ali Hakim. Read more…
THE BRUTALIST – Daniel Blumberg
Original Review by Jonathan Broxton
There’s a famous quote – which no-one seems to want to take credit for – which states that ‘writing about music is like dancing about architecture’. It basically means that it’s impossible, and probably futile, to try to encapsulate in words what is, at its core, an entirely subjective response to art. As I have spent almost 30 years writing about music I disagree with this sentiment, and that is even more true when it comes to this review of The Brutalist, in which I will attempt to write about the music for a film which is in part about architecture, among many other things. Read more…
A STAR IS BORN – Harold Arlen, Ira Gershwin, and Ray Heindorf
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In December of 1952 producer Sid Luft approached director George Cukor and proposed that he remake the Selznick International Film’s “A Star Is Born” (1937) with his wife, Judy Garland making a comeback to star in the lead role. Cukor agreed and the two men received the green light to proceed from Warner Brothers. Luft would produce the film, whose budget soared to $5 million due to 41 sick days and a two-week drug rehabilitation withdrawing from all the medications she had become addicted to, which extended filming to nine months. George Cukor took the reins to direct, and Moss Hart was hired to write the screenplay, which was adapted from the screenplay of the 1937 film. For the cast, Judy Garland would star as Esther Blodgett, in her first film in four years. Joining her would be James Mason as Norman Maine, Jack Carson as Matt Libby, and Charles Bickford as Oliver Niles. Read more…
SEVEN BRIDES FOR SEVEN BROTHERS – Gene de Paul, Johnny Mercer, Adolph Deutsch, and Saul Chaplin
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
MGM was seeking to produce another in its fine line of musicals and decided they had found their story; “The Sobbin’ Women” by Stephen Vincent Benet, which was itself derived from the ancient roman mythological tale “The Rape of the Sabine Women”. Jack Cummings was assigned production with a budget of $2.54 million. Albert Hackett, Frances Goodrich and Dorothy Kingsley were hired to write the screenplay, Michael Kidd was brought in as choreographer, and Stanley Donen was tasked with directing. For the cast of the seven brothers and their brides, we have; Howard Keel as Adam and Jane Powell as Milly, Jeff Richards as Benjamin and Julie Newmar as Dorcas, Matt Mattox as Caleb and Ruta Kilmonis as Ruth, Marc Platt as Daniel and Norma Doggett as Martha, Jacques d’Amboise as Ephraim and Virginia Gibson as Liza, Tommy Rall as Frank and Betty Carr as Sarah, and Russ Tamblyn as Godeon and Nancy Kilgas as Alice. Joining them would be Ian Wolfe as Reverend Elcott, Howard Petrie as Pete Perkins, Russell Simpson as Mr. Bixby and Marjorie Wood as Mrs. Bixby. Read more…
CALL ME MADAM – Irving Berlin and Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1951 20th Century Fox executives took notice of the success of the Broadway musical “Call Me Madam” which opened 12 October 1950, ran for 644 performances, and grossed in excess of $4 million. The film rights were purchased, Sol Siegel was assigned production with a $2.46 million budget, Walter Lang was tasked with directing, and Arthur Sheekman was hired to adapt the original story by Howard Lindsay and Russell Crouse. For the cast, Ethel Merman, who was intent on securing a dramatic role to expand her career, was coaxed into taking on the musical comedy, starring in the lead role as Sally Adams. Joining her would be Dennis O’Connor as Kenneth Gibson, Vera-Ellen as Princess Maria and George Sanders as General Cosmo Constantine. Read more…
WITH A SONG IN MY HEART – Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1950 a bidding war among Hollywood studios unfolded for the film rights to the Jane Froman story, the famous actress-singer who was crippled by an airplane crash on February 22, 1943. Producer Lamar Trotti wooed and convinced Froman to sign with 20th Century Fox, even though MGM offered her $25,000 more. Trotti was assigned production with behind-the-scenes assistance from studio executive Daryl F. Zanuck, Walter Lang was tasked with directing, and Trotti would also write the screenplay. For the cast, studio star Susan Hayward would play Jane Froman, joined by Rory Calhoun as John Burn, David Wayne as Don Ross, Thelma Ritter as Clancy, Helen Wescott as Jennifer March, Una Merkel as Sister Marie, and Robert Wagner as a GI paratrooper. Read more…
THE LION KING – Hans Zimmer, Elton John, and Tim Rice
THROWBACK THIRTY
Original Review by Jonathan Broxton
It’s interesting how, quite often, you never realize in the moment that you’re experiencing a cultural touchstone. I went to see The Lion King at the cinema the week it opened when it came out in the UK with very little in the way of anticipation, and vividly remember being shocked at having to wait in line for almost an hour beforehand to get in (these were the days before pre-assigned seating), such was its massive popularity.
The Lion King is, of course, Disney’s groundbreaking animated feature film that follows the journey of a young lion named Simba. The story begins with Simba’s birth in the Pride Lands of Africa, where he is introduced as the future king. However, Simba’s uncle, Scar, covets the throne and conspires with a pack of hyenas to kill both Simba and his father, King Mufasa, in an orchestrated wildebeest stampede. Scar’s plan partially succeeds; Mufasa is killed, and Simba, guilt-ridden and believing himself responsible, runs away and grows up in the jungle with his new friends Timon, a meerkat, and Pumbaa, a warthog. Eventually, encouraged by his childhood friend Nala and the mandrill shaman Rafiki, Simba returns to the Pride Lands to confront Scar and reclaim his rightful place as king. Read more…
ON THE TOWN – Leonard Bernstein, Roger Edens, and Lennie Hayton
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
When the 1944 ballet “Fancy Free” by Jerome Robbins gained critical acclaim, it was brought to Broadway as a play with music by Leonard Bernstein and lyrics by Betty Comden and Adolph Green. It opened on December 28, 1944 at the Adelphi Theatre, running for 462 performances. Following this successful run MGM management decided to bring it to the big screen. It secured the film rights, Arthur Freed was placed in charge of production with a $2.1 million budget, Gene Kelly and Stanley Donen were tasked with directing, and Betty Comden and Adolph Green would write the screenplay. Kelly would also manage the choreography. For the cast, Gene Kelly would star as Gabey, joined by Frank Sinatra as Chip, Jules Munshin as Ozzie, Vera-Ellen as Ivy, Betty Garrett as Hildy Esterhazy, and Ann Miller as Claire Huddesen. Read more…
MOTHER WORE TIGHTS – Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1946 20th Century Fox was on the hunt for a new musical to showcase their star, Betty Grable. They found their vehicle with the novel “Mother Wore Tights” (1944) by Miriam Young. The film rights were purchased, Lamar Trotti was assigned production, would also write the screenplay, and Walter Lang was tasked with directing. For the cast, Betty Grable would star as Myrtle McKinley Burt. Joining her would be Don Dailey, a gifted former MGM musical film star who following military discharge signed with 20th Century Fox. He would play Frank Burt, joined with Mona Freedman as Iris Burt, and Robert Arthur as Bob Clarkman. Read more…
EASTER PARADE – Irving Berlin, Johnny Green, and Roger Edens
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Metro-Goldwyn-Mayer Studio was intent on making a new musical to showcase their stars Judy Garland and Gene Kelly. Irving Berlin’s song “Easter Parade,” which inspired the movie, was first sung in his 1933 Broadway revue “As Thousands Cheer” by Marilyn Miller and Clifton Webb. Arthur Freed was place in charge of production with a $2.655 million budget, Charles Walters was tasked with directing, the trio of Sidney Sheldon, Frances Goodrich and Albert Hackett were hired to write the screenplay. Judy Garland would star as Hannah Brown, but casting went off the rails when Gene Kelly broke his ankle. Luckily, he was able to coax Fred Astaire to come out of retirement and take the role of Don Hewes. Cyd Charisse had to be replaced as she tore ligaments in her knees, so Ann Miller took the role of Nadine Hale. Joining them would be Peter Lawford as Jonathan Harrow III. Read more…
COVER GIRL – Jerome Kern, Ira Gershwin, Morris Stoloff, and Carmen Dragon
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Columbia Pictures wanted to showcase their star Rita Hayworth, the most popular pinup girl for American soldiers in WWII, and chose a musical romantic comedy to be adapted from the story “Cover Girl” by Erwin Gelsey. Arthur Schwartz was assigned production, Charles Vidor was tasked with directing, and Virginia Van Upp was hired to write the screenplay. Gene Kelly was on loan from MGM and was given creative control and would also manage choreography. Rita Hayworth would star as Rusty Parker. Joining her would be Gene Kelly as Danny McGuire, Lee Bowman as Noel Wheaton, Phil Silvers as Genius, and Jim Falkenburg as Jinx Faulkenberg. Read more…
STAGECOACH – Richard Hageman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Ford came upon a short story, “The Stage to Lordsburg” by Dudley Nichols, which inspired him for his next film project, and whose film rights he purchased for $2,500. Yet he had difficulty securing financial backing as the studios believed “A” western pictures were out of vogue, and they had no confidence that John Wayne could carry the film. Ford was insistent on retaining Wayne and eventually hammered out a deal with independent producer Walter Wanger who would manage production with a $531,374 budget. Ford would direct and Dudley Nichols was hired to write the screenplay. A fine cast was assembled, including Claire Trevor as Dallas, John Wayne as Ringo Kid, Andy Devine as Buck, John Carridine as Hatfield, Thomas Mitchell as Doc Boone, Louise Platt as Lucy Mallory, George Bancroft as Marshall Curley Wilcox, Donald Meek as Samuel Peacock, Berton Churchill as Henry Gatewood, and Time Holt as Lieutenant Blanchard. Read more…
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