Top dúzia em honra ao Centenário de Chuck Jones

What’s Opera, Doc? (1957) Duck Amuck (1953) One Froggy Evening (1955) Now Hear This (1963) Rabbit of Seville (1950) Horton Hears a Who! (1970) Duck! Rabbit, Duck! (1953) The Dot and the Line: A Romance in Lower Mathematics (1965) The Scarlet Pumpernickel (1950) Feed the Kitty (1952) Broom-Stick Bunny (1956) The Wearing of the GrinContinuar lendo “Top dúzia em honra ao Centenário de Chuck Jones”

Lullaby of Broadway

Perdão, Vincente Minelli, Walt Disney, Michael Powell, Gene Kelly e Bob Fosse, mas esta é a melhor sequência de um musical no cinema – não se poderia esperar outra coisa de Busby Berkeley. Pena que o resto do filme, salvo as demais cenas de dança, não esteja à altura. Muita coisa do que se precisaContinuar lendo “Lullaby of Broadway”

24 Frames: Tommy (Ken Russell, 1975)

To say that cinema often presents a contemptuous view of television doesn’t begin to capture the extremity of that representation. Ken Russell’s 1975 Tommy, to take just one instance, features one of the better-known, most hysterical portraits of television paranoia. Ann-Margret, playing Tommy’s careless mother, Nora Walker Hobbs, urges Tommy (Roger Daltrey) to respond toContinuar lendo “24 Frames: Tommy (Ken Russell, 1975)”

24 Frames: Anna Pavlova / The White Swan (1983)

Rootling through a charity shop some months ago, I found a DVD of a 1985 biopic entitled Anna Pavlova. I’d never heard of it but, being a diehard ballet fan, I couldn’t resist, especially as the box intriguingly proclaimed that it was directed by the great Michael Powell, with a cast including the unlikely combinationContinuar lendo “24 Frames: Anna Pavlova / The White Swan (1983)”

24 Frames: The Sorcerer’s Apprentice (Michael Powell, 1955)

O meu mestre feiticeiro Um dia quis se ausentar. Seus espíritos tomei E fiquei em seu lugar. Vi suas magias. Vou fazer igual. Farei maravilhas Com força mental! Água, cresce E transborda! Corre, entorna. Cria bolhas! Agora esta tina: ferve! E toda essa água escorra! Vem, dona Vassoura! Entra,Enrola-te nestes panos! Já trabalhaste bastante: Estou,Continuar lendo “24 Frames: The Sorcerer’s Apprentice (Michael Powell, 1955)”

3x Mamma Mia

I’ve said it before, and I’ll say it again: “No more fucking ABBA!” Nota: É sempre bom lembrar que O Casamento de Muriel conta a história da protagonista através das músicas do ABBA, concepção esta anterior à criada pelo espetáculo da Broadway de fim dos anos 90 e que deu origem ao filme homônimo. JáContinuar lendo “3x Mamma Mia”

24 Frames: The Pastoral Symphony (Fantasia, Hamilton Luske / Jim Handley / Ford Beebe, 1940)

“Perhaps Bach and Beethoven are strange bedfellows for Mickey Mouse,” he wrote, “but it’s all been a lot of fun, and I want to thank Leopold Stokowski, Deems Taylor, and all my coworkers for holding my head up when the water got too deep.” The cultural waters were deepest in the short film animated toContinuar lendo “24 Frames: The Pastoral Symphony (Fantasia, Hamilton Luske / Jim Handley / Ford Beebe, 1940)”

24 Frames: Moulin Rouge! (Baz Luhrmann, 2001)

The Australian director Baz Luhrmann has an idea to reinvent or reinvigorate the musical. He means the American musical, such as Metro-Goldwyn-Mayer made in the forties and fifties. But he brings many different provocations to his cause: the films of Michael Powell and Emeric Pressburger, films like The Red Shoes, where music and drama wereContinuar lendo “24 Frames: Moulin Rouge! (Baz Luhrmann, 2001)”

Também quero Elton John cantando no meu casamento…

… só que Pinball Wizard, é claro. E se você contextualizar a letra dessa música para um casal, ela é bem romântica. Rá. E para completar o nonsense do fim de semana, era bem esse outro papa que deveria ser beatificado. Certamente não estou brincando quando digo que Ken Russell deveria comandar o universo. OContinuar lendo “Também quero Elton John cantando no meu casamento…”

24 Frames: Toccata and Fugue in D Minor (Fantasia, Samuel Armstrong, 1940)

“You will be able to SEE the music and HEAR the picture,” said Walt Disney of his hopes for Fantasia; and you can read, in excerpts from the transcripts of their story meetings, how Disney and Stokowski and their associates worked toward achieving that aim. In a story meeting on the Toccata and Fugue held on Tuesday afternoon, November 8, 1938, John McLeish, a story artist with the manner of John Barrymore (his stentorian tones can be heard narrating the opening of Dumbo), began talking about the contrast between the screen and the music.” In the Fugue, suggested McLeish, why not “picture a huge form moving slowly against a counterpoint in the music? Or just the opposite, when you have a slow, heavy chord, picture little, light forms playing against that.”

24 Frames: The Sorcerer’s Apprentice (Fantasia, James Algar, 1940)

Der Zauberlehrling The Sorcerer’s Apprentice Johann Wolfgang von Goethe Translation by Brigitte Dubiel Hat der alte Hexenmeister Good! The sorcerer, my old master sich doch einmal wegbegeben! left me here alone today! Und nun sollen seine Geister Now his spirits, for a change, auch nach meinem Willen leben! my own wishes shall obey! Seine Wort’Continuar lendo “24 Frames: The Sorcerer’s Apprentice (Fantasia, James Algar, 1940)”

24 Frames: Night on Bald Mountain / Ave Maria (Wilfred Jackson, 1940)

The Last Number in Fantasia is a combination of two pieces of music utterly different in construction and mood, whose synergism was intended as a dramatic example of the struggle between the profane and the sacred. The first is Night on Bald Mountain, a tone poem by Modest Moussorgsky. The second is Ave Maria, byContinuar lendo “24 Frames: Night on Bald Mountain / Ave Maria (Wilfred Jackson, 1940)”