I frequently say, both aloud and in my head, that there's a song for every moment. As a rule, I've found it honest enough. There is generally a song that, if it doesn't encompass the moment, at least makes the moment bearable. That's why me and my iPod are pretty much inseparable - it can get me through the stickiest spots. There are a few songs I can usually rely on to make me smile with their energy; for instance, 'A Parade in Town' or 'High Hopes' or 'Our Time'. These galvanise me, dupe me into thinking I'm okay when I'm not. Sometimes they even manage to alter my mood properly.
But this time the old remedies aren't working. Me and my iPod aren't getting on. Oh, I'm still listening to it when I'm out because otherwise I'd have to deal with people and I listen to it at home to try and fool myself (Marni Nixon is currently singing 'I Whistle a Happy Tune' at me, for reference). But, for maybe the first time, music isn't really helping. Not music I know anyway. There are connotations there, links that would once have made me smile and now bring me perilously close to tears. Most of my Judy songs are off-limits. You can forget all about Liza and Ella Fitzgerald is breaking my heart daily. Everything I used to find comfort in is now increasing my pain.
So I've taken to YouTube a lot. My reasoning is that I'll listen to songs I don't know that well, then they can't have any resonance. For the most part, this has been working; however, when a song hits me, it really hits me. The other night though, while I was scrabbling around for another artist to search for, I landed on Anthony Newley. Of course, I wasn't about to click on 'What Kind of Fool Am I?' but there was one that drew me in, knowing it vaguely and wanting to be reminded. 'Who Can I Turn To?' is from The Roar of the Greasepaint - the Smell of the Crowd, a show I'm fairly unfamiliar with. I'm no longer unfamiliar with the song.
It's no exaggeration to say that I've listened to it thirty times now and sung it myself over and over and over again. It certainly sums up how I feel but I'm not sure it's doing me any good. It's crystallised my problem again, perhaps drawn me back into it (though that suggests I got away from it in the first place, something I don't believe).
There's one thing for sure - I can't stop listening to it.
On Monday I was lucky enough to see The Pajama Game at the Shaftesbury Theatre. I've wanted to see a Chichester Festival Theatre transfer for quite some time and this one didn't disappoint. It tells the story of Babe Williams (Joanna Riding) and Sid Sorokin (Michael Xavier) who are on opposite sites of an industrial dispute at the factory they work in - Babe is vigorously campaigning for a raise while Sid is having to tow the line of boss Hasler (Colin Stinton). Caught between a rock and a hard place, the romance between the two falters but Sid endeavours to rescue it - and the workers' cause.
First of all, the musical numbers are fantastic. Each one, I decided, was my new favourite, until it was superseded by the next. With a little distance, I think my favourites were probably 'I'm Not at All In Love', 'I'll Never Be Jealous Again', 'Once-a-Year Day', 'There Once Was a Man' and 'Hernando's Hideaway' (yes, I'm aware that's half the score!). 'I'm Not at All in Love' is Babe trying to convince her colleagues that she doesn't have a thing for Sid, quite unsuccessfully. The camaraderie in that number is brilliant and it fully establishes Babe's character. 'I'll Never Be Jealous Again' is a duet and dance between foreman Hines (Gary Wilmott) and Mabel (Claire Machin), with her testing his resolve to be more trusting of his girlfriend Gladys (Alexis Owen-Hobbs). Honestly, this pair form a wonderful double-act with many little comedic moments throughout the show, especially when Hines can't quite get his trousers back on (long story).'Once-a-Year Day' is a production number involving the whole cast at the factory picnic and the choreography, as it is throughout the musical, is exquisite. The energy of this cast is outstanding. 'There Once Was a Man' is another energetic song with Babe and Sid expressing their love for each other while 'Hernando's Hideaway' is an ensemble number where Alexis Owen-Hobbs shines as Gladys. There's nothing substandard about the songs I haven't mentioned but this is already turning into an essay!
The cast is superb. Joanna Riding captures Babe perfectly, from the punchy and spiky factory grievance committee spokeswoman down to the heartbroken woman who sings a reprise of 'Hey There'. She irresistibly captures the eye during any scene, even when she's not speaking. Equally, her chemistry with Michael Xavier works very well, especially in 'Small Talk' and 'There Once Was a Man'. Xavier himself portrays the conflicted Sid delicately enough and the rest of the cast all have their shining moments, some of which I've mentioned above. However, for me at least, Joanna Riding stands out from the excellent crowd.
The Pajama Game concludes a limited run on 13th September. I'd highly recommend it as a fun night out at the theatre with some memorable songs. Four days later, I'm still singing 'Hernando's Hideaway'...
At first I thought this list would be ten songs. But that was too constricting. So I bumped it up to twenty. Then that was too constricting. Even at twenty five I've had to miss out some gems including 'I Got Rhythm', 'Just You, Just Me', 'I Am Loved', 'Carolina in the Morning' and many others. It's astounding when you look at Judy's career how many brilliant renditions of songs she produced. Before anyone starts panicking, that song was included in another list so it won't be here. A few of these I hope you'll never have heard of - I do love introducing people to gorgeous Garland songs.
25. 'Just One of Those Things'
The reason I love this one is that Judy's humour shines though, along with the story that emerges as the song progresses. I can see her performing this if I close my eyes, it's such a quintessential Garland performance, and, listening to it now, I'm chuckling to myself.
24. 'San Francisco'
Once again, it's the humour that gets me here. She practically made this a signature song and it's another one that makes me smile frequently. I particularly love her duet with Liza (when she forgets some of the words) but every version's a delight. It's one of those songs I get the impression she really enjoyed singing.
23. 'Come Rain or Come Shine'
The arrangement of this is just luscious but, letting the bongos and Judy's voice do the majority of the work at the beginning. When it picks up, it becomes a standard brilliant rendition from Judy and the ending is magnificent.
22. 'Do It Again'
I actually prefer the slower version of this song, the one Judy sings with such yearning. It's such a delicate. The swifter version is good for toe-tapping but the emotion in this one is undeniable.
21. 'Day In, Day Out'
The orchestration on this is gorgeous, melding perfectly with Judy's voice. It's a delight to listen to, not too heavy but it tells that story that we're all aware of - wanting someone so much that it's all you think of. As with most subjects, Judy sings it best.
20. 'Me and My Shadow'
There aren't words to describe how difficult this song is to listen to. It's Judy at her most potently heartbreaking. The little chuckle at 'we never knock because nobody's there' sums up the song. There's nothing but pain and the loneliness it evokes is palpable.
19. 'On the Sunny Side of the Street'
From loneliness to optimism. I adore the clarity of Judy's voice in this number, along with the message of the song as a whole. The little swing towards the end makes it downright perfect.
18. 'Friendly Star'
Originally in Summer Stock, with or without the context this is a gorgeous song. It's another one of those wishful numbers, of a similar vein to 'Over the Rainbow', that Judy did so brilliantly.
17. 'Stormy Weather'
I remember thinking how good this song would be if Judy sang it - then I discovered the recording. As good as I thought it would be. If anyone can sing this song with the requisite amount of heart, it's Judy.
16. 'Get Happy'
I'm sure many will think this deserves a higher ranking and maybe it does but it's tied up with connotations of Judy's split with MGM for me. Throughout Summer Stock she looks reasonably comfortable, the extra weight suiting her because it looked as though she was healthy. Knowing the crash diet she was put on to get her in shape for this number pains me and, despite it being a brilliant song, it's coloured by that.
15. 'Mean to Me'
It's probably Judy's tone throughout this song that makes me love it so much. She's playful and the melody's playful but there's a serious undertone about being led round in circles. How it marries both of these things is still a mystery to me but, with Judy's voice, you can do most things.
14. 'After You've Gone'
Originally from For Me and My Gal, this song more than stands alone and it's gorgeous.
13. 'But Not For Me'
I think this one is just so wistful yet full of longing. Judy's young, pure voice puts it across wonderfully but it doesn't lose any of its power in later renditions.
12. 'I'm Confessin''
'Stunning' would be too simple a word to describe this one yet it's pretty much the only one I have. If I ever have the need to confess my love in future, I'm just going to play this song and let Judy say it for me.
11. 'Judy at The Palace Medley'
Listening to Judy's collection of Capitol recordings, this was one of the ones that captivated me. The arrangement by Roger Edens is superb and the songs chosen are beautiful. 'My Man' gives me shivers and it was in this song that I first got my tantalising taste of 'I Don't Care' and I loved it. That the song ends with Judy claiming her place amongst the greats is gorgeous, particularly the lines 'And so with deep humility I stand in front you / I'm proud to play The Palace, it's like a dream come true'. And you really get the feeling it is.
10. 'Love'
I have to say, I disliked this song for a few years. I think I needed time to understand it fully and maybe you only get there with life experience. It's now become one of my favourites, early or later versions. I adore the way Judy's voice slides around, mimicking what she's singing about.
9. 'Do I Love You?'
Another one of those swinging Capitol recordings where voice mingles perfectly with orchestration. The changes in tempo and volume work brilliantly and the ending is exquisite. I can never stop myself conducting along.
8. 'The Trolley Song'
Made famous by Meet Me in St. Louis, this is another song most identifiable with Judy and it really is one of her best. Energetic and beautiful, it never fails to make me smile.
7. 'It Never Was You'
From Judy last film, I Could Go On Singing, this is a haunting number about wanting real love and realising you haven't got it. Poignant, captivating, even heartbreaking, it is one of the highlights of Judy's career as far as I'm concerned.
6. 'I Concentrate On You'
Yet another of those brilliant Capitol pieces, this one swings and displays Judy's mature voice at its best, sliding around the scales as the song dictates. It's a gorgeous number and she concludes it in a fantastically strong manner - as usual.
5. 'Just in Time'
I believe this version of the song came from a concert recording when Judy had a sore throat or something similar. You can certainly hear that in the first half of the song but then...wow. When the audience breaks out into applause I always smile. It's like Judy's bursting into life in front of me. And the little discussion with the audience at the end just seals my adoration. Of course her audiences stick with her - she's magical, sore throat or no.
4. 'I've Confessed to the Breeze'
I probably like this song so much because Judy liked it so much. Over the years, I've grown to love it, the gentle lilt of Judy's voice throughout plus the message of loving someone so much and finally telling them is a potent mixture. It's such an undervalued song that the only Judy version on YouTube is as accompaniment to a music video I made myself a few years ago in celebration of Fingersmith. Anybody adverse to lady love probably shouldn't click the video below.
3. 'How Long Has This Been Going On?'
Carnegie Hall. Wow. This is my my joint favourite song to come out of that concert, mainly because Judy's voice puts the emotion across so brilliantly. She tells this story so well that I feel as though I've lived through it every time I listen to the song.
2. 'If Love Were All'
This Noel Coward song is one of the most beautiful Judy ever performed and is also part of the Carnegie Hall concert. Perhaps I love it so much because she conveys so much wisdom into the rendition but perhaps it's just because of the final lines she delivers so well - 'But I believe that since my life began / The most I've had is just a talent to amuse / Hi-ho, if love were all...'
1. 'I Could Go On Singing'
A strange number one or the natural choice? Whether intentionally or not, this song characterises Judy's career for me. She gave herself to her audience, singing and singing, giving us hour after hour of beautiful recordings and films. The emotion she piles into her music is found in this one as surely as any other and it's how I chose to remember her vocally. She could go on singing and we can go on listening. That's the kind of legacy she deserves.
Looking at Judy's film career, there are numerous song performances in films that stand out. Picking just five is a tricky task but, again, I've chosen ones that mean something to me personally. Of the ones I've excluded from this list, some will find their way into the large list of song favourites on Friday. Others miss both lists just because there are too many of them to choose from. For instance, I adore her rendition of 'Easter Parade' with Fred Astaire but there's no room for it. Similarly, 'Better Luck Next Time' from that same film is captivating and 'Have Yourself a Merry Christmas' breaks my heart every time. I'm beginning to think I needed a larger list! However, here are five of my favourites from Judy's film career...
5. 'On the Atchison, Topeka and the Santa Fe' from The Harvey Girls
It may seem strange to select a number that Judy only appears in half of but, boy, what a half. This production number centres on the disembarkation of the women into the town of Sandrock. Judy emerges last and is utterly captivating. Perhaps what I love most are the little touches between her and Ray Bolger. It's sweet and a nice reunion film for them. Unfortunately, the only clip I could find only shows Judy's half of the song and it's in black and white!
4. 'The Man That Got Away' from A Star is Born
What can be said about this one? It's a stunning song with Judy perhaps at the height of her vocal powers (though I change my mind weekly about that) and this rendition ebbs and flows perfectly. You live a lifetime in a song and that little wink at the end... Wow.
3. 'I Don't Care' from In the Good Old Summertime
This jolly little number is full of energy and the message behind it is probably why I adore it so much. However, seeing her dance that silly little dance and swing round the pole always makes me smile. From one her lesser-known films - and one where she's so very, very funny - this is a gem.
2. 'For Me and My Gal' from For Me and My Gal
I heard a shortened version of the song long before I watched the film, which half-prepared me for how much I'd enjoy the number but not quite. Judy and Gene singing and dancing together is something particularly special and this song epitomises their shared brilliance. (Though see down below for a little bonus number that I also wanted to share...)
1. 'Over the Rainbow' from The Wizard of Oz
How could this not be number one? It's not only the song that triggered my love affair with Judy but also the one that captivated millions across the world. Whenever you think of Judy you have to think of her as Dorothy and this song never, ever gets old.
It would be very easy for me to concoct a list of my twenty favourite Garland duets. Narrowing it down to five was rather difficult and there are some missing that will probably be seen as gaping holes to some fans. But these five touched me and I've got fond memories of them.
5. 'You're So Right For Me' with Mickey Rooney
Rooney appearing on The Judy Garland Show produced this magical number that not only shows off their evidently close friendship but also Judy's undiminished dancing skills (I love it when she kicks her shoes off prior to the dance). The energy and love in this number is undeniable and it makes me smile every time.
4. 'Walkin' My Baby Back Home' with Bing Crosby
This may only be short but it's gorgeous. I love the way Judy and Bing's voices work together in all their duets and this one allows you to visualise the scene through the words alone, and the impish smile Judy puts into the lyrics.
3. 'Chicago' with Liza Minnelli
The Palladium concert recording is rightly considered one of the highlights of Judy's career and I think this song pretty much sums up its brilliance. Watching Judy sing while Liza dances is just wonderful, and the fun they both seem to be having on stage with each other is fantastic to watch. Their energy's infectious - I never get away from this song without a smile.
2. 'Friendship Duet' with Ethel Merman
This number was the one that spurred me on to listen to more of Judy's later work. The energy in this medley is unbelievable and I love the fact that Judy loses it during 'You're Just in Love' and gets straight back into the song. As she says, when they're singing together, what can go wrong? Nothing you can't fix.
1. 'You've Got Me Where You Want Me' with Bing Crosby
Another unusual choice for number one? Maybe. But, as I said before, Judy and Bing together are magical and this song holds a special place in my heart as one of the first that made me sit up and pay attention to Judy the singer as opposed to Dorothy Gale. It's probably no coincidence that it was recorded in 1945, at the pinnacle of her MGM years, and it betrays all the affection and humour in her voice that she showed off so brilliantly in Meet Me in St. Louis and The Harvey Girls. There are so many gorgeous duets with Bing including the amusing 'Connecticut', 'Something to Remember You By', 'You're Just in Love' and 'People Will Say We're in Love' but this, for me, is one of their best.
Those hours of The Judy Garland Show are a goldmine for Garland fans. I can spend hours on YouTube going from one song to another and, occasionally, discovering one I'd missed the last time around. While it's infinitely sad the show was cancelled so soon, I'm just grateful it existed at all. There are performances of songs on there that just blow me away. Of course, the duets are probably the most famous and, it's true, the collaborations with Barbra Streisand, Lena Horne, Peggy Lee, Bobby Darin, Tony Bennett and the hilarious one with Martha Raye remain some of the most engaging Judy performances available. However, this list is about Judy's solo performances and these are some of my favourites...
5. 'Life is Just a Bowl of Cherries'
On top of the jolliness of the message of the song itself, Judy's interpretation adds a new layer of wisdom. It's jolly, yes, but there's a nice undercurrent of experience in there. The way she pulls off the final note is brilliant and, to be honest, I can't resist when she tells me to wiggle my ears...
4. 'Seventy Six Trombones'
My first experience of this one was audio with no video. I liked it enough listening to it but seeing the video more than reaffirmed it. I love the outfit, I love the little dance, I love how energetic she gets with the song. But, too, there's the little touch of poignancy when she's talking about her leading the band which brings up memories of MGM and those Rooney films.
3. 'You're Nearer'
This song, though it's about loving someone so much that they're always with you, manages to infuse a glimpse of a wish that they weren't in there too. Love's a double-edged sword when Judy sings about it.
2. 'By Myself'
I think this was one of the songs that sealed my switch from a fan of the 'youthful' Garland to the 'wiser' one. I heard it first on the album of Capitol recordings then saw her perform it in I Could Go on Singing. In this version on The Judy Garland Show, she melds the conflicting emotions perfectly. At the beginning the battle is evident as she tries to argue with herself, alternating between acceptance and defiance. Then, after the tempo shift, defiance takes over - with some slips. This is a woman telling herself what she's going to do, bringing herself round to the idea in song. If ever there was a blueprint for acting a story via a song, Judy wins it with this one.
1. 'Too Late Now'
Perhaps I'm just being difficult, picking a lesser-known performance as my favourite here but 'Too Late Now' is another one of those songs that tell a tricky story. Once again, there's the tinge of 'why' in the interpretation but, ultimately, she accepts that's it's a good thing. Aside from being a gentle, gorgeous little song, I adore this performance for the way Judy sings the last few lines, with a twist of knowledge and satisfaction. Stunning.
Garland fans will be well aware that June is Judy's month. She was born on 10th June 1922 and died on the 22nd June 1969. So this June I thought I'd do something that I've been meaning to do for a while - celebrate some of my favourite performances in various categories. I could talk about Judy about as long as she could go on singing so this is a win-win. Here's the schedule for the week:
Monday - Favourite Performances from The Judy Garland Show
Tuesday - Favourite Duets
Wednesday - Favourite Film Performances
Thursday - Favourite Films
Friday - Favourite Songs
Note that no song will make an appearance in two lists so don't get too outraged when a particular song doesn't make the Friday list!
My love affair with Judy obviously began with The Wizard of Oz and a couple of other films. But I really became acquainted with her voice when I picked up a double album in Woolies. It was 'youthful' Judy and I was captivated, particularly by her duets with Gene Kelly and Bing Crosby. However, I was a little reticent about listening to 'wiser' Judy. It took discovering some YouTube clips of The Judy Garland Show - and one duet in particular - before I bit the bullet and picked up a collection of her Capitol recordings. I never looked back.
I hope next week will prove to be as enjoyable to other Judy fans as it will be to me. Please feel free to comment and share your own favourites. I'm sure there'll be lots of dissent but I'm choosing the songs that speak to me. I could go on till the cows come home...
Flower Drum Song is one of Rodgers and Hammerstein's lesser-known musicals. It tells the story of stowaway Mei Li (Miyoshi Umeki) who arrives in San Francisco with her father Doctor Li (Kam Tong) for an arranged marriage to Sammy Fong (Jack Soo). Unfortunately, Sammy is in love with dancer Linda Low (Nancy Kwan). He decides to palm Mei Li off onto his friend Wang Chi-Lang (Benson Fong), who is looking for a bride for his son Wang Ta (James Shigeta). But Wang Ta already has his own crush on Linda Low and the situation gets ever more complicated.
This is a glossy, colourful film that deals with a clash of cultures alongside the actual love story. The luscious opening credits set the scene for a vibrant film and, on that level, it certainly delivers. The songs, however, aren't the best Rogers and Hammerstein ever wrote. The most enduring song within the score is no doubt 'I Enjoy Being a Girl', dubbed here by B.J. Baker for Nancy Kwan, and a couple of others are decent - 'Chop Suey' about the clash of cultures and the amusing 'Don't Marry Me' performed by Miyoshi Umeki and Jack Soo. The song sung by yet another woman in love with Wang Ta, Helen Chao (Reiko Sato, singing dubbed by Marilyn Horne), 'Love, Look Away', is an excellent song of a broken heart. One of my main criticisms about the film is that Helen Chao is the best character and she doesn't get a proper ending.
The central love story of Mei Li and Wang Ta doesn't work for me - I never once thought they should get together. Equally, the amount of dubbed singing in the film irritated me. There are plenty of humorous lines but it doesn't add up to a coherent whole. I don't know if it just translated badly to film, trying to make itself shorter, but the main love story didn't get the energy it should have from the initial set-up. Mei Li sees Wang Ta and immediately loves him - why?
Overall, this is a colourful film with some excellent commentaries on culture clashes and some good comic performances from the likes of Benson Fong and Jack Soo. However, on the basic plot level, it didn't hook me. I really wanted to know what happened to Helen Chao - never a good way to end a film like this.
It's my birthday today and music is one of my passions so I decided to share a few of my favourite song lyrics with you. Some snippets are longer than others but all of these are beautiful. Well, I think so anyway. The images I get from them are quite potent. These are just five out of literally thousands of songs I adore.
It Never Was You - sung beautifully by Judy Garland in I Could Go On Singing, lyrics by Maxwell Anderson...
An occasional sunset reminded me,
Or a flower hanging high on a tulip tree,
Or one red star hung low in the west,
Or a heart-break call from a Meadow Lark's nest,
Made me think for a moment,
Maybe its true,
I found him in the star,
In the call,
In the blue...
No Way to Stop It - sung in the stage version of The Sound of Music, lyrics by Oscar Hammerstein II...
A crazy planet full of crazy people,
Is somersaulting all around the sky.
And every time it turns another somersault,
Another day goes by.
And there's no way to stop it,
No, there's no way to stop it.
No, you can't stop it even if you tried.
So, I'm not going to worry,
No, I'm not going to worry,
Every time I see another day go by.
Gone - written and performed by Melody Gardot...
I won't wake up,
To the sound of your feet,
Walking down the hall,
Like a soft heartbeat,
I won't wake up,
Cause by the time that,
I do you'll be gone...
I Don't Want to Know - performed by Angela Lansbury in Dear World and written by the wonderful Jerry Herman...
Let me hide ev'ry truth from my eyes with the back of my hand,
Let me live in a world full of lies with my head in the sand.
This madcap film stars Jack Haley as Mike O'Brien, valet to the broke Mr Drake (Leon Errol). To appease Drake's creditors, Mike suggests a plan whereby they dress up the scullery maid Millie (Michele Morgan) as Drake's daughter Pamela and marry her off to a wealthy man who would then save Drake's finances. The man they settle on is Sir Victor (Victor Borge), although he may not be all he seems. Rounding out this rather nice cast are the ever-wonderful Mary Wickes as Sandy, Barbara Hale as Katherine Keating and Mel Torme as Marty. However, the third-billed star shines the brightest - Frank Sinatra playing Frank Sinatra.
Some of the songs in Higher and Higher are forgettable. However, two Sinatra numbers went on to become standards - 'I Couldn't Sleep a Wink Last Night' and 'A Lovely Way to Spend an Evening'. There's something pure about Sinatra's voice in the early 40s, making his performance on these songs nothing short of captivating. He also does an excellent job on 'The Music Stopped', a song new to me and possibly unjustly forgotten. There's an excellent comic duet he has with Marcy McGuire called 'I Saw You First' to look forward to as well. The stand-out 'other' song is probably 'You're On Your Own' but, again, the few lines of the reprise by Sinatra are more memorable than the actual performance by the cast.
That's not to say that the acting performances are drab, just that they're overwhelmed by Sinatra's singing talent. Jack Haley gives a good central performance, although I couldn't really connect with Michele Morgan. Anything with Mary Wickes in it already has the thumbs-up from me and she was as funny in this as I've seen her in other films. Another favourite performance of mine came from Elisabeth Risdon as the stately Mrs Keating - a rather understated performance that offset some of the madness going on elsewhere.
The storyline is, essentially, barmy but that doesn't mean it's a bad film. There are plenty of humorous moments and Sinatra gently lifts the whole piece up to another level. Even with my ambivalence towards the heroine, I enjoyed this one.
The Las Vegas Story stars Jane Russell as ex-singer Linda Rollins who is hoping to pass through Las Vegas without stopping. Her husband, Lloyd Rollins (Vincent Price), insists on stopping off for a little gambling. Linda is apprehensive about facing her past, particularly the Last Chance, a casino she used to work in as a singer alongside pianist Happy (Hoagy Carmichael). That was where she was watched night after night by Dave Andrews (Victor Mature), now a lieutenant in the local police force. At the centre of the film is an expensive necklace given to Linda by her husband. Since he's in financial trouble, the insurance company has sent an agent, Tom Hubler (Brad Dexter), to make sure Rollins doesn't dispose of it. When a man turns up dead Lloyd Rollins is implicated and the necklace is missing.
If the plot sounds complex that's because it is, although it's much easier to watch than to explain. While Price and Russell seem like an odd pairing, as soon as it becomes clear that there's far more to enjoy in the Russell/Mature dynamic this becomes almost irrelevant. Hoagy Carmichael's supporting role is a rather bizarre one, particularly when he launches into 'The Monkey Song', a piece that has to be seen to be believed. The other two songs are performed with typical sultriness by Russell and I have no complaints on that score. There was an obvious decision to focus the camera on her as much as possible throughout and, for me, that's what made it enjoyable.
The middle of the film sags a little. By the time the murder has actually happened, I was a little tired of waiting for it but there was a lot to set up beforehand. There are a few notable scenes, the best by far being the helicopter/car chase towards the end of the film. I don't know how that was managed in 1952 but it was excellent to watch. However, as an ardent Jane Russell fan, I have to include a scene of hers in this review (and not the shower scene) so I'd have to go with the scene where she walks into the Last Chance again for the first time and is hit with her memories. Wonderfully played by Russell.
This isn't a fantastic film by any stretch but it's a good one. Victor Mature is ideal as Lt. Dave Andrews and Jane Russell doesn't take herself too seriously. A nice film of its time.
I'm an enormous Victoria Wood fan. I completely 'get' her comedy. Her humour is my kind of humour and I can watch her stuff on repeat without getting bored (I wrote about this years ago here). But while I love her comedy I often feel her serious work's overlooked. Anybody who watched her in Housewife, 49 will know what I mean but it goes deeper than that. While there are plenty of laughs in dinnerladies there are also some poignant moments. The one I'll always remember is from the second series when Stan has just lost his father and writes a poem about him. I actually recited that poem in a presentation on grief I had to do because it mixed the funny with the heartbreaking.
One of my favourite songs at the moment is a Victoria Wood oldie that I've only just really discovered. It's not in her usual vein of laugh-out-loud comedic songs but it's a nice poignant number that basically tells you to take a chance in life and not to miss your opportunities when they arrive. Some of the lyrics are too relevant to my own life to comment on really. It's advice I wish I could take but perhaps it's easier said than done. I suppose that at least my characters will be well-informed and ready to do what I'm incapable of. Isn't that what characters are for anyway?
(Note: Video's a little sticky but audio's fine)
Three o’clock and still awake, Winding back each dumb mistake. Every slip replayed, Words not said, moves not made. Five o’clock the sky comes grey, Another wash, another day, Just another life, it’s true, But particularly yours, particularly you. If you have a dream, go with it, Feel the slightest hint, go with it. What is there to lose? Do you dare, dare to choose? I have wasted years behaving In a way I thought was proper, And it’s hard to do. No-one cared, no-one knew. Bus to work, paper shop, Will it alter, will it stop? Take the time to feel, Is this for you? Is this for real? Horoscope, your new campaign, Oh, I'm not so bad, I can’t complain, But you do feel bad somehow, Particularly here, particularly now. You can struggle on believing, Other people have the answers. Even if they do, It couldn’t help, it wouldn’t help you. You may feel there’s more to follow, Some eternal life, I don’t feel that. All there is is now. You can’t choose when. You can choose how. If you have a dream, go with it, Feel the slightest breeze, then follow, Follow all the way, Save yourself from just another day.
When I type 'overture' into my iTunes search box it comes up with 44 songs. There are a mix of stage productions and film productions, with a couple of concerts thrown in there for good measure (Judy Garland, Liza Minnelli, John Wilson). Now, I have to face it, some overtures are a lot better than others. Some seem to give a perfunctory nod to the best songs of the piece ahead and finish quickly. However, some composers utilise the form properly, conveying the essence of the show in one simple orchestral piece. The best overtures are works of art in their own right, giving potential enjoyment to people who don't give a damn about the musical whilst pleasing fans immensely. Or is that just me? Am I the only one who gets overexcited at the three overtures I've picked as my favourites?
Mack and Mabel was a commercial flop for Jerry Herman but still contains some of the best songs he's ever written. Both 'I Won't Send Roses' and 'Time Heals Everything' come from this musical and the original cast of Robert Preston and Bernadette Peters conveyed them beautifully. However, I love the overture to bits. From the first bars of 'Movies Were Movies' the energy smashes into you then it trips into the delightful 'Look What Happened to Mabel' which fades into 'I Won't Send Roses'. I always get to that part and wonder how Herman can drag the listener out of the sudden doldrums but 'Wherever He Ain't' offers a wonderful brief contrast before the jazzier 'Big Time' enters the fray. 'When Mabel Comes in the Room' has always been one of my favourites from this musical and the overture makes good use of it. It ends with a brief reprise of 'I Won't Send Roses' but it's always interesting to note which songs weren't used in an overture. 'Time Heals Everything' was perhaps too much like another dip in the high energy but what's the reasoning behind leaving 'Tap Your Troubles Away Out'? Seems bizarre but I don't love the overture any less for that oversight.
My second favourite is another Jerry Herman, though this one was a phenomenal success. Mame starred Angela Lansbury and, again, is full of great individual songs. The overture ties them all together with a similar energy to that managed by Herman in Mack and Mabel. It starts off with a teaser of the title track before going into a light energetic version of 'Open a New Window' which then blends very briefly into 'My Best Girl', perhaps one of the lesser-know tracks from the show, then straight into 'If He Walked Into My Life'. Then we get the jazzy 'That's How Young I Feel', which invariably has me dancing, followed by the title track which takes us right to the end in classic Herman style.
Perhaps my all-time favourite overture is this last one. Jule Styne wrote the music for Gypsy and what a job he did. This overture has everything and, for whatever bizarre reason, I normally end up laughing halfway through at the sheer brilliance of it. It begins with the famous 'dream' bars then pushes on into 'Everything's Coming Up Roses'. Next up is the lighter 'You'll Never Get Away From Me' then we get a short tease of 'Small World' followed by a longer spell. Then all hell breaks loose as the tempo builds to the 'Gypsy Strip' number which blends into the equally energetic 'Mr Goldstone'. The final notes are a reprise of the beginning with a tremendous finish. If I heard this in a theatre I'd be tempted to go home from exhaustion before the curtain even rose.
Am I alone in my love for these overtures? And have I missed any classics? Slap me with a fish if I have.
I am not a fan of Valentine's Day. We could put this down to resentment that my boyfriend lives elsewhere, disgust at the growing commercialisation of absolutely everything, or perhaps just a disregard for everybody else's happiness... No, it couldn't be that one. I too frequently put the happiness of every human, mouse and child above my own.
Anyway, it still stands that I dislike this day of the year but I do find musicals to be an absolute treasure-trove of odd little love songs. Since I adore delving into musical scores at the best of times I thought I'd share some of my favourites.
5. 'Baby, Dream Your Dream' from Sweet Charity
Sung by Charity's two friends, examining the realities of a happy-ever-after, the song tells of boredom, impossibly-gained credit and family quarrels. It concludes with a painful reminder that, even though it isn't perfect, it's what these women want:
Baby, dream your dream,
Close your eyes and try it,
Dream of three fat kids,
Brother would I buy it!
Life could be frozen peaches and cream,
If only I could, if only I could,
Dream, dream, dream our dream.
4. 'Hate Me Please' from Robert and Elizabeth
This delightful little song depicts the struggle of forcing yourself not to love when you quite plainly need to love. Interspersed with several drifts back into a poignant ballad, the singers try in vain to force their affections out of them. Some of my favourite lines:
There's just a slender chance a beautiful romance
Would not survive if you would bury me alive!
I'd count it as a favour if you'd shun me, shock me, tear my heart in two,
Halve it up and calve it up and serve it to the zoo.
Wound me, wing me, stab me, sting me,
Something's to be flung - then fling me!
Someone's to be clung to... cling me.
3. 'Love is Always Lovely in the End' from The Drowsy Chaperone
A rather dotty woman draws on some loved-up couples to illustrate how love endures: Samson and Delilah, Henry VIII and Anne Boleyn, Romeo and Juliet.
2. 'Opposites' from Blitz
This takes up the old adage that opposites attract in a delightful way that promises an exciting life ahead. Lionel Bart was a genius in getting to the humour in things, especially love.
Two similar kinds of poodles
Bring up an upper-pedigree pup,
But two opposite kinds of mongrels
Produce a pooch you'd love.
Where I see black, you see white,
Wrong to me, to you seems right.
1. 'Losing my Mind' from Follies
This is just an outstanding song about love and longing. I don't think I've heard a better analysis of how it feels to lose your train of thought as you stand in the middle of a room and drift away to forbidden places. Of course, it's Sondheim, and he expresses almost anything better than anyone else.
All afternoon, doing every little chore,
The thought of you stays bright,
Sometimes I stand in the middle of the floor,
Not going left, not going right.
I dim the lights and think about you,
Spend sleepless nights to think about you,
You said you loved me, or were you just being kind?
