Followers

Total Pageviews

Showing posts with label England. Show all posts
Showing posts with label England. Show all posts

Thursday, January 26, 2023

Wonderland Burlesque's Let's All Go To The Movies: All These Years Edition, Part IV

Wonderland Burlesque's
Let's All Go To The Movies:
All These Years Edition, Part IV

What's a year? 365 days... and the key word for today's Let's All Go To The Movies post, which is part four of a five part series.  

And the years? They sure do add up, now don't they?

Don't worry, I've mixed them up extremely well - variety being the spice of life. I've also included a slew of foreign films and documentaries, for whom among us couldn't use our horizons broadened?

Well, seeing as how time is of the essence... let's take yet another look at All These Years...

Part IV

--- ---

20,000 Men A Year
(1939)
AKA: Air Story /Aviation Story

(A fly-boy drama serving as propaganda for recruitment and to raise interest in the aviation industry.)

(The U.S. government encouraged Hollywood to produce films designed to buildup of the aviation industry as well as the military. Released on October 27, 1939 by 20th Century Fox, this picture reflected the spirit of the times. It was the fourth and final film produced by Cosmopolitan Pictures during its final year of operation.)


(Directed by Alfred E. Green and written by Lou Breslow and Owen Francis, the film stars Randolph Scott, Preston Foster, Margaret Lindsay, Mary Healy, Robert Shaw, George Ernest, Jane Darwell, Kane Richmond and Maxie Rosenbloom.) 


(Scott married twice. He first married in 1936, becoming the second husband of DuPont paint company heiress Marion duPont. It would last three years. Scott had served as the best man at Marion's previous marriage.)

Randolph Scott

(Offscreen, Scott was 'good friends' with  Fred Astaire and Cary Grant. He met Grant in 1932 on the set of Hot Saturday. Shortly afterwards, the pair moved in together, sharing a beach house in Malibu which was dubbed 'Bachelor Hall'. It was widely rumored the two were romantically involved at the time, something both men, their wives and families have repeatedly denied. In 1944, Scott and Grant stopped living together when Scott remarried. However, they remained close friends for the remainder of their lives.)

--- ---

Candida, Woman Of The Year
(1943)
AKA: Cándida, la mujer del año

(After being decorated for doing a good deed, a woman finds herself involved in the unethical dealings of a pair of swindlers who intend to use her fame for unlawful gain.)

(This Argentinian comedy was directed by Enrique Santos Discépolo and stars Niní Marshall, Augusto Codecá, and Carlos Morganti.)

Niní Marshall

(Niní Marshall was a beloved Argentinian humorist, comic actress and screenwriter known as 'Chaplin In A Skirt' and 'The Lady Of Humor.')

--- ---

The Dancing Years
(1950)

(Set in the days of old Vienna, this episodic British musical, tells the story of a composer of operettas and the two women in his life. One, his sweetheart -an operetta star who becomes his first patron and, then, his mistress - becomes a lost love, after a misunderstanding which leads her to marry a prince. Soon after, she gives birth to a son the composer remains unaware of for many years. While the other, his first love, serves as the brokenhearted composer's companion during his later years.)


 (Based on the popular stage musical by Ivor Novello; the most successful wartime show in London. It was mounted twice, with Ivor Novello played the lead in both productions.)


(While on location in Austria, actor Dennis Price spent his breaks between scenes teaching the Austrian crew how to play cricket using a ball made from tape and a bat improvised from something found by the props department.)


--- ---

The Last Year
(1951)

(Based on a novel by Ludwig Turek. and made by the state-controlled DEFA in communist East Germany, this drama, directed by E.W. Fiedler and Hans Heinrich, stars the enigmatic Inge Keller, Hans Klering and Hermann Stövesand. Filmed entirely at the Johannisthal Studios in Berlin, the sets were designed by Wilhelm Depenau and Artur Günther.)


(Keller, one of the most prominent performers in the former German Democratic Republic, enjoyed a career on stage and screen which spanned seventy years.)

Inge Keller

--- ---
Terror From The Year 5000
(1958)
AKA: Cage Of Doom

(A professor and his financial backer build a prototype time machine to obtain objects from the ancient past. The pair, along with a colleague, place modern items in the time machine and receive in exchange an something from a bygone era. Once one of the trio begins attempting to lure a living being from the past, they open a portal to pure horror.)


(Reportedly based  on the short story Bottle Baby by Henry Slesar  published in the science fiction magazine Fantastic in April of 1957, this independently made  black-and-white science fiction film was produced by Robert J. Gurney Jr., Samuel Z. Arkoff, James H. Nicholson, and Gene Searchinger. Directed by Robert J. Gurney Jr., it stars Ward Costello, Joyce Holden, John Stratton, Salome Jens, and Fred Herrick.)


(While shooting, the working title of the film was The Girl from 5000 A.D.)


(Edited by Dede Allen, who went on to a long, distinguished career editing such feature films as The Hustler, Bonnie and Clyde, Dog Day Afternoon, and Reds.)


(The film is also credited as the first movie appearance of the 1958 Edsel automobile.)

--- ---

All Year Is Christmas
(1960)

(Unsatisfied doing good only one day a year, Santa Claus sets out to bring joy and happiness to the lives of others. In order to do so, he disguises himself as a common worker, a maid, an office worker and a bartender while solving the problems of various people.)

(Based on the popular Argentinian television program which ran for several seasons and structured in five episodes, this black and white film, directed by Román Viñoly Barreto with a script by Horacio S. Meyrialle premiered on February 25 , 1960. It starred Raúl Rossi , Olga Zubarry , Carlos Estrada and Nelly Meden.)

--- ---

Nine Days in One Year 
(1962)
AKA: Девять дней одного года) 

(In love with the same woman, two physicists risk their lives achieving scientific breakthroughs in the field of nuclear particle physics. One of them marries the object of their shared affections, only to become deathly ill when exposed to radioactivity during an experiment. The physicist's will to survive is driven by his love for his wife, science and mankind.)


(The film's working title was 365 Days. Reportedly based on true events, this black-and-white drama, directed by Mikhail Romm has been called one of the most important Soviet films of the 1960's. It won the Crystal Globe Award in 1962.)


(Screen favorites, Yury Yakovlev and Alexey Batalov were hired for the main roles. However, before the filming began, Yakovlev was hospitalized and had to be replaced.  A young and little-known actress, Tatyana Lavrova was cast in the female lead.)


 (Batalov witnessed Soviet censors removing numerous 'dark parts' from the film, as per the Kremlin's wishes.)

--- ---

The Year Of The Cannibals
(1970)
AKA: I Cannibali

(City streets are littered with the dead bodies of rebels who protested and opposed an oppressive regime. The powers that be purposely leave the bodies on display to serve as a warning to others. A young woman discovers the body of her brother among them and wishes to bury him. Soliciting the help of a foreigner who speaks another language, the duo defy the authorities who, in retaliation, kill them both. Their deaths become a battle cry among the city's citizens, as the young take to the streets in order to put the dead to rest.) 

(A modernized retelling of the Greek tragedy Antigone, set in contemporary Milan, drawing upon the socio-political themes and imagery of the the protests of 1968, the counter-cultural movement, and the Years of Lead.)


(This Italian drama was directed by Liliana Cavani and stars Britt Ekland and Pierre Clémenti.)


(Starring sex symbol Britt Ekland who is most famous for her high-profile social life, her 1964 marriage to actor Peter Sellers and her relationship with singer Rod Stewart; all of which attracted considerable media attention. She was one of the most photographed celebrities in the world during the 1970's. In 1976, Ekland provided the French spoken part at the end of then-boyfriend Rod Stewart's classic hit Tonight's the Night (Gonna Be Alright). The pair was introduced in 1975 by Joan Collins and would live together for more than two years, with Ekland giving up her career to focus on the relationship. In a much publicized case, she later sued Stewart for palimony.)

--- ---


The 300 Year Weekend
(1971)

(At a 24-hour clinic, a group of patients share their life stories and how each of them became dependent on drugs.)


(Starring William Devane, this drama was repeatedly tested at audience previews, but, ultimately, not released. It would eventually make its debut as an ABC TV Movie of the Week.)


--- ---

The Year Of The Yahoo!!
(1972)

(The President of the United States wants a liberal incumbent Senator  defeated. In an effort to do so, a  naïve country-western singer is recruited to run against him. The candidate soon clashes with his unscrupulous campaign manager regarding the tactics used to run his political campaign.)

(A drive-in theatre favorite!)

--- ---

Holy Year
(1976)

(An elderly bank robber and his younger cohort, escape from prison dressed as priests in order to retrieve a sizeable amount of gold stashed in Italy from a previous bank heist. Their plane is hijacked, but the terrorists prove no match for the old man, who soon gets the better of them. However, the delay allows the police in Rome time to track him down and it quickly devolves into a cat and mouse situation.)  


(Bernard Menez was first offered the role of the younger bank robber, but declined because he disliked the script. He later had deep regrets, missing a unique opportunity to play opposite legendary actor Jean Gabin. This would turn out to be Gabin's final film.)


(Gabin is considered a key figure in French cinema, having starred in several classics including 1937's Pépé le Moko, 1937's La grande illusion, 1938's Le Quai des brumes and La bête humaine, 1939's Le jour se lève, and 1952's Le plaisir.  Twice each, he won the Silver Bear for Best Actor at the Berlin International Film Festival and the Volpi Cup for Best Actor at the Venice Film Festival. Gabin was made a member of the Légion d'honneur in recognition of his important contributions to French cinema.)


--- ---

The Year Of Living Dangerously
(1982)
"A love caught in the fire of a revolution."

(Navigating the harrowing political turmoil of Indonesia during the rule of President Sukarno, an Australian reporter, with the help of a diminutive photographer, attempts to capture the chaos.)

 (For the part of Billy Kwan, Joel Grey, Bob Balaban, and Wallace Shawn all auditioned. Director Peter Weir initially cast David Atkins in the role, but after meeting Linda Hunt, he realized that she was the only person right for the role. Weir said on casting Hunt, "I never would have started out looking for a woman, But from the moment I saw her test, I knew she was appropriate." Hunt ended up being the first actress to win an Academy Award for portraying a member of the opposite sex, and the only actress to win an Academy Award for playing a cisgender man.)


(Due to the movie's subject matter, permission to shoot in Indonesia was denied, so the majority of the movie was filmed in the Philippines, in and around Manila. According to Coming Attractions magazine: "At one point, during a reenactment of the 1965 storming of the American embassy, the action became so real that pistol shots were fired over the crowd to restore order, when more than a thousand extras got carried away hurling stones at the building. This incident, along with a bomb threat from militant Muslims, precipitated the crew's return to Australia ahead of schedule.")

(Death threats against Weir and Mel Gibson from Muslims who believed the film would be anti-Islam forced the production to move to Australia.  In hindsight, Gibson believed: "It wasn't really that bad. We got a lot of death threats to be sure, but I just assumed that when there are so many, it must mean nothing is really going to happen. I mean, if they meant to kill us, why send a note?")

--- ---

And that's all for now.

Tune in next week...

Same time, same channel.

Waltz Of My Heart - Anthony Valentine & Cast
from The Year Of Dance

Wednesday, April 14, 2021

Who Did It Better? Billy Don't Be A Hero

Who Did It Better?
Billy Don't Be A Hero

Written by British songwriters, Mitch Murray and Peter Callander, Billy, Don't Be A Hero was a #1 smash for two different groups - one on each side of the Atlantic. It wasn't supposed to be. However, the music business is a cutthroat, competitive world where the most innocent of mistakes can become the opportunity of a lifetime for a canny, discerning record executive.

It all began in 1970, when a Nottingham band that had been knocking about England for six years decided to try-out for a British televised talent competition called Opportunity Knocks. They had to audition three times before they got the nod, after which, the group managed to win the top spot five weeks in a row, garnering a viewership of seven million people.

One of those people was Connie Callendar, whose husband Peter, along with his songwriting partner Mitch Murray, were scouting about for talent to help launch a record company they were starting called Bus Stop Records. Murray and Callendar had a great track record, having written a number of hits, separately and together, for other artists, other labels. They had a half-finished story song about a soldier in a non-descript war whose fiancée back home longs for his return. Connie Callendar brought the group to the attention of her husband and both he, and his partner Murray, became convinced that Paper Lace were the act they'd been looking for.

An audition was arranged and the group signed on. Murray and Callendar finished the song, altering it slightly to fit the tenor of the group; it was a match made in pop heaven.

Released in early 1974, Paper Lace's version would take the #1 spot on March 16th  in the UK, Ireland and Australia. Plans to release it stateside however proved problematic. Bus Stop, a fledgling label, did not have a US distribution deal in place. Negotiations proved difficult, taking months. Eventually they found a willing partner in the form of Mercury Records.

Unfortunately for Paper Lace, Bus Stop, and Mercury, in the course of finding a willing distributor, Murray and Callendar had sent a master copy of the song to Jay Lasker, head of ABC Records. Lasker, in a shrewd move, declined to buy the master - not because he didn't think the song was a hit - but because he wanted one of his own artists to cut a version.

Enter Bo Donaldson & The Heywoods. By 1974, due to Bo's mother's connection working for Dick Clark, the group had managed two minor hits thanks to appearances on Clark's various television programs. They'd developed a small, but devoted following. Lasker handed the song over to the group and, as producer Steve Berri would later recall, “We cut it that very night and had it out two or three days later.”

Released on April 14th, 1974, the song received a huge boost one week later, when Paper Lace's version hit the market. The story of two versions of the same song appearing on the charts incited the imagination of several DJs who began playing the two back-to-back, inviting listeners to call in and tell them which was the hit. State side, Bo Donaldson & The Heywoods' was deemed the public's favorite, so it got the airplay. 

Sadly, Paper Lace's version entered Billboard's Hot 100 at #99, remaining on the charts for three weeks with a peak of #96. 

On May 11th 1974, Bo Donaldson & The Heywoods' version was at #38. However, once they performed Billy Don't Be a Hero on ABC's American Bandstand, it's ascent seemed assured. Twenty-nine days later, on June 9th, it hit the #1 spot where it would remain for a total of two weeks. Then, on July 6th, it would also go all the way to #1 in Canada. In addition, it proved a major hit in Latin America and Japan. The song would be Billboard's #21 song of 1974.

Realizing their blunder, Murray & Collander vowed to make it up to the band. They did exactly that by handing them their next story song; the historically inaccurate, but undeniably catchy The Night Chicago Died. This time, distribution deal in place, Mercury Records rush released the song and it paid off with the group's first (and only) #1 in the states. 

As for Bo Donaldson & The Heywoods? They would enjoy two more Top 40 hits in the US: Who Do You Think You Are (#15) and The Heartbreak Kid (#39).
 
However, popularity and sales don't guarantee respect. Billy Don't Be a Hero was poorly received on two fronts. First, there was a bit of controversy. The Viet Nam war was underway and conservatives felt the song was being critical of that war. And then there was the music press, which found the song to be insipid and annoying. In the end? Billy Don't Be a Hero nabbed the 8th spot on Rolling Stone magazine's readers' poll of 'The 10 Worst Songs of the 1970's'.

And that's the whole story!

Now? On with the contest.

The Song: Billy, Don't Be A Hero
The Competitors: Paper Lace vs. Bo Donaldson & The Heywoods

Billy, Don't Be A Hero - Paper Lace

Billy, Don't Be A Hero - Bo Donaldson & The Heywoods

Paper Lace
So, 1974 is one of my favorite years in AM Radio/Pop History. The story song ruled (Delta Dawn, The Night The Lights Went Out In Georgia, Dark Lady).  Music was adolescent and rather innocent. To appreciate this particular song, one would do best by adopting that mindset, because, yes... this is cotton candy fluff. However, simplicity is not without it's charms - cloying though they may be. 

Those jangly guitars sound a bit out of tune. And then whistling! Fun? Annoying? Personally it's like a dentist drill. I don't like cheerful whistling, but it does set up the whole military theme of the song. That trap set... everything sounds a bit out of step, to be honest. 

I like the lead vocalist (he's also the drummer). Very straightforward and adding that harmony right out of the gate on the second line? Nice. The vocalist gets a bit sharp sounding as he reaches for those upper notes. You can hear the strain on his throat. Still, his are the type of vocals that would cut through the fog of the airwaves, getting a listener's attention. 

As we go into the chorus, things remain strident (well, it IS a military beat). I was hoping for some warmth, but the backing harmonies are buried in the mix so there's no bed for the vocalist to lie on top. The counter melody played by that guitar sounds terribly thin. 

Vocals on 'Come back and make me your wife...' made me laugh. You whine at me and my answer is a firm 'no'. Imagine listening to that for the rest of your life? I think it's being sung by one of the guys. That counter guitar is starting to win me over. Oh, dear, I think that may well be a female singing? Atrocious. Can't be (It's not. It's one of the guitarists - there are three in the group at this time). 

That lead-in guitar line into the second verse? An absolute classic. Adore. It digs in and I love it. Only halfway through this song and I am done with it. When I was a little kid? I ate this stuff up. Drama! But, on this side of things? I know how the whole thing ends, so? Cut to the chase.

I really enjoy the interplay between the vocalist (whom I rather like) and that guitar. It plays nicely on top of the jangly mess beneath. Notice how the bass guitar really doesn't figure into things? That was AM radio at the time. Bass guitar was for dirty, sexy music. Not Top 40 - which was Wonder bread white!

Again, the 'female' vocals are unintentionally funny. Like a parody. Time for the denouncement. Woah! Those vocals are saturated, treated. Reverb? Odd choice. Huh. They don't play it for all it's worth. In a rush. Could have spent a bit more time. Okay. Whistle time. Then they add back in those weirdly-tuned jangly guitars. Meh. Could fade a bit faster for my taste. 

This is bright, likable pop. I enjoy the lead vocalist and the counter guitar. It's very 'live', very believable.

Bo Donaldson & The Heywoods 
Well, that flute and drum opening will get your attention. And they get right to it, wasting no time. Lead vocalist, Bo Heywood... okay, a little precious for my taste. I prefer something less bubblegum. Oh, this is so cleaned up and the tempo is a bit brisker. Squeaky clean. Homogenized. Sanitized. Hermetically-sealed. Huge contrast to the 'live' sound of Paper Lace. 

Definitely a warmer sound, but why am I feeling rushed and uninvolved? That counter melody in the chorus? What is that? An accordion? 

That's odd, I remember the backing vocals on the chorus being much more prominent. Rather disappointed. This is really about the vocalist carrying the day.  In fact, he doesn't trade off the 'female' voice in this... which is a shame. This version? It lacks color. And I also have to say, I rather enjoyed the nuts and bolts, everyman approach of Paper Lace. You got a sense of them as a a band. Bo Donaldson & The Heywoods sound manufactured and faceless. Donaldson is a fine vocalist, but this arrangement? It doesn't interest me; it doesn't pull my ear. 

The denouncement. Huh. Why do I remember this being hella dramatic? They coast right through it. Okay, hate the way he sings 'away', ending with an long 'e' sound. Why do that? Nobody talks like that. Odd choice (and yes, I have a 'thing' about open vowel sounds). 

It fades out right on time. 

The Verdict
I am surprised. 

Again, I had my mind made up before we started; I assumed Bo Donaldson & the Heywoods would be my choice. It is the version I remember listening to on the radio - and they played the thing to death! 

However, my older sister had a cassette tape version of Paper Lace's album, that also contained The Night Chicago Died, which I would 'borrow' (much to her chagrin). This was back when cassettes came in these odd side-loaded black plastic boxes with a sticker wrapped around it. Oh, I wish I still had it. So, I guess I am familiar with both versions. 

That said, I find Paper Lace's version more appealing. It's more 'real'. Band-oriented. I can hear all the pieces being put together. Yes, the 'female' vocals are a scream, but I still prefer their un-sanitized version to the homogenized one Bo Donaldson & The Heywoods serve up. 

I enjoy live music. I like music I can relate to. It's like home cooking vs. factory sealed boil a bag food; real music vs. studio wizardry. I always appreciate something authentic, despite its flaws. In fact, it's those flaws that make it real and that's a kind of magic all on it's own. 

--- ---

That's my take on this. I must say, the song didn't make me cringe the way I expected it to. I rather enjoyed listening to this one again.

Okay, your turn. What did you think? Leave your thoughts in the comments section. I do love hearing your opinions. 

And, as always... thanks for reading!

(P.S. You really MUST watch Dewey Cox in action! Variety show 'magic' at it's finest.)

(And... is it just me? Or is he kind of weirdly hot? No? Just me? Oh. Okay.)

Billy Don't Be A Hero - Paper Lace

Billy Don't Be A Hero - Bo Donaldson & The Heywoods

Billy Don't Be A Hero - Dewey Cox

Thursday, December 24, 2020

Wonderland Burlesque's The 12 Days Before Xmas - Day One - The Greedies

Wonderland Burlesque's 
The 12 Days Before Xmas - Day One
The Greedies

1979 is my favorite year, ever. I dunno why. It just is. Maybe it was due to it containing the last gasp of disco , the post-apex of punk and the swell of new wave that makes me remember it so fondly. One of the things that came out of that year was a short-lived supergroup of sorts called The Greedies (also known as The Greedy Bastards). Composed of Thin Lizzy's Phil Lynnott, Scott Gorham, & Brian Downey, and The Sex Pistols' Steve Jones & Paul Cook... like the fabled star in the east, they were looked upon with wonder and awe. 

Here, in the states, Thin Lizzy is primarily remembered as a one-hit wonder (the truly awesome The Boys Are Back In Town), however, they are, in fact, a truly legendary group with an iconic band leader in the form of the ill-fated Phil Lynnott. As for Jones and Cook, they had actually quit the Pistols by this point, fed up with Malcom McLaren's exploitative management and John Lydon's prima donna ways. So the holiday season saw these musicians get together for, depending on how one viewed it, either a stab at a brilliant collaboration or just another wanking cash grab. 

They made the rounds,(including an appearance on Top of the Pops) promoting A Merry Jingle - their sludge-smeared marriage of the hallmark carols, Jingle Bells and I Wish You A Merry Christmas. The intro is pure Thin Lizzy and the rest? Well, depends on your tastes, mate. It's a fun one-off... 

...which is exactly what Xmas should be!

--- ---

This completes our countdown to the big day!
Although, really - is this day one or day twelve? 
Yeah, when it comes to math... don't put me in charge. 
Happy Holidays!
- uptonking from Wonderland Burlesque

A Merry Jingle - The Greedies

Wednesday, June 17, 2015

Of Note: ‘Emoticon’ by The Wombats


Of Note: ‘Emoticon’ by The Wombats

In recent years, since the mainstream acceptance of such alt-pop acts as Passion Pit and Phoenix, I have developed an ear for oddly quirky, jangly, electronic-driven music. It’s the kind of music that seems, upon first listen, alien, intellectual, and strange.  However, as stated, I have more than warmed to this sound; I now embrace it.

And such is the case with today’s ‘Of Note’ selection: the dense, but crisp, ‘Emoticon’ by The Wombats.  It is forlorn and danceable at the same time.  The chorus soars despite its seeming bitterness and sense of defeat.



Founded in Liverpool back in 2003, The Wombats have remained a consist delivery system for innovative, fresh, idiosyncratic pop.  This is a as smart as it comes, folks.  Their April 2015 release, ‘Glitterbug’ contains no less than four stellar singles: among them, the dazzling ‘Emoticon’. 

The group broke big in 2008 and continue to sell well in the UK, yet have never broken through to the mainstream, here, in the US.