Centenário de Billie Holiday

O Ocaso de uma Estrela (Lady Sings the Blues, Sidney J. Furie, 1972)

65 anos de Tom Waits

Mahler – Sinfonia de uma Paixão (Mahler, Ken Russell, 1974)

Em honra do aniversário de Ken Russell.

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 Grin

Centenário de Gene Kelly

Centenário de Nina Mae McKinney

Pie, Pie Blackbird (Roy Mack, 1932)

Centenário de Wilfrid Brambell

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 precisa

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 to

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 combination

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,

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. Já

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 to

Roger Daltrey versus Paul Nicholas

Tommy versus Primo Kevin Franz Liszt versus Richard Wagner Qualquer semelhança não é mera coincidência. Related articles So, you don’t like Wagner?

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 were

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. O

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’

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, by

24 Frames: Nutcracker Suite (Fantasia, Samuel Armstrong, 1940)

Related articles The Rite of Spring (Fantasia, Bill Roberts / Paul Satterfield, 1940) 24 Frames: Dance of the Hours (Fantasia, Norman Ferguson / T. Hee, 1940)