The Music Man – Till There Was You

An evening pause: Sung by Shirley Jones, from one of the greatest American musical films ever made, The Music Man (1962).

Diane and I have been watching a lot of those ’40s, 50s, and 60s American musicals. To today’s bitter and cynical youth, these films might seem to portray a too-perfect world filled with too much happiness and wealth. And while there is some truth to that cynical view, it is mostly wrong. The America portrayed in these films was actually quite like this. People were free, they were generally happy, and they lived a life of prosperity that no one before had ever seen. Nor are future generations likely to see such a life again during the coming dark centuries. These musicals provide a window into that time.

These musicals as well as most of the Hollywood movies prior to the 1960s are also quite unique in the history of literature and art in that they told stories not of kings or rulers or nobility, but of ordinary people. Such stories were rarely told before the coming of America. This fact also tells us much about the culture that then existed. It was ruled by those ordinary people, and thus the art and literature catered to them.

Which is why the Marxist power-driven culture that now dominates this country is desperate to ban the viewing of such art and the learning of that history. It tells a tale they cannot stomach.

1776 – Hatching an Egg

A evening pause: On this day, July 2nd, the day the Founding Fathers actually signed the Declaration of Independence, I think it appropriate to once again watch this wonderful song from the 1976 movie version of the 1972 musical, 1776. As I said in earlier posts of this song on Independence Day, “not only did the musical capture the essence of the men who made independency happen, it is also a rollicking and entertaining work of art.”

And despite the hate being spewed against America and its founding principle that all humans are created free with the right to life, liberty, and the pursuit of happiness, that truth still shines. As John Kennedy said of himself, ourselves, and these founding fathers. “We stand for freedom.”

Today’s blacklisted American: Anyone in Hollywood who is white

A banned race in Hollywood
A banned race in Hollywood.

Blacklists are back and Hollywood’s got ’em: Warner Brothers has decided its next Superman will be super-woke and must star a black Superman.

More important, the studio has decided that in order to make the film the “super-woke” concept they envision it must only hire blacks to make it. Not only has the studio hired a black writer to write the script, it is insisting that the director and crew must be black also.

The Hollywood Reporter proudly makes note of the fact that they are looking for only black people to do it all, and are looking for a black director. The piece unabashedly excludes the film’s producer J.J. Abrams as a candidate purely because it would be “tone-deaf.”

Nor is that all. Hollywood also wants the focus for all its future superhero films to be “diversity” and racial oppression rather those evil and quaint old concepts of “truth, justice, and the American way.”
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Chiquita Banana – The original commercial

An evening pause: This will not mean anything to my younger readers, but this song and commercial seared itself into the brains of everyone who went to the movies or watched television in the 40s, 50s, and 60s. The first version, shown here, was produced by Disney for the United Fruit Company.

I can think of no reason not to sear this song into some new generations.

Hat tip David Nudelman.

John Ford’s The Searchers

An evening pause: A very detailed look at some of the behind-the-scenes history for one of John Ford’s best westerns, The Searchers (1956), starring John Wayne.

This isn’t my favorite Ford film. I prefer My Darling Clementine (1946). Nonetheless, The Searchers is still one of the best, and this short documentary will also give you a feel for the actual American culture of the time, a culture that cared about the truth and tried to treat people with respect.

If you want to watch but save time, you can set the playing speed at 2X normal and understand everything completely.

Hat tip Tom Biggar.

Robots

An evening pause: This sequence from the animated film Robots (2005) is a very typical scene from almost every modern Hollywood film, whether real or animated (though the difference is getting harder to see as they put more and more CGI in every film). Regardless, it is fun, and takes the idea of a Rube Goldberg device to a very strange extreme.

Hat tip Bob Robert.

A Christmas Carol

An afternoon pause: As I have done for several years on Christmas day, I bring you the classic 1951 version of Charles Dickens’ A Christmas Carol, starring Alastair Sim. To my mind this movie is still by far the best adaption of the book. It is also a truly wonderful movie.

As I wrote last year,

Dickens did not demand the modern version of charity, where it is imposed by governmental force on everyone. Instead, he was advocating the older wiser concept of western civilization, that charity begins at home, that we as individuals are obliged as humans to exercise good will and generosity to others, by choice.

It is always a matter of choice. And when we take that choice away from people, we destroy the good will that makes true charity possible.

Enjoy, and have a Merry Christmas!

Carnival of Souls

A evening pause: For Halloween, one of best low budget spook films ever made. No blood, no gore, no boring killer. Just style and atmosphere producing a creepy experience and a sense of dread.

And it was produced and directed by Herk Harvey for an estimated $33,000!

Paul Robeson – Ol’ Man River

An evening pause: From the 1936 movie adaptation of the Jerome Kern & Oscar Hammerstein Broadway musical Showboat. While some of the visuals are a bit overstated and feel a bit preachy, this is still the best movie version of this song I have seen. Rather than strut about with big visuals, the film focuses on Robeson, who sings the song introspectively, as if it is something he is thinking.

A bit of trivia: The film’s director was James Whale, the man who made the 1935 classic The Bride of Frankenstein.

Hat tip Edward Thelen.

Buddy Ebsen – I’m nuts about you

An evening pause: Ebsen is joined by Eleanor Powell, Jimmy Stewart, Una Merkel and Sid Silvers in this dance number from the 1936 film, Born to Dance.

Ebsen is remembered most for playing Jed Clampett in the tv comedy series, The Beverley Hillbillies, but he started out as a dancer in movies.

Hat tip Phill Oltmann.

Fred Astaire & Ginger Rogers – They Can’t Take That Away From Me

An evening pause: Another movie pause tonight, this time showing the films themselves. This clip includes two performances of this song, from two different Astaire & Rogers films. The first, from Shall We Dance? (1937), has Astaire singing the song, knowing that the Rogers character is leaving him. Of course she ends up not going.

The second clip is from The Barkleys of Broadway (1949), their last film together and done after a split of ten years. They knew then this would be their last film, and now the words have a meaning far greater than the story in the film. When they exit at the end of this song, they know it is pretty much for the last time.

Hat tip to Phil Berardelli, author of Phil’s Favorite 500: Loves of a Moviegoing Lifetime.

First movie of solar eclipse rediscovered

The first movie ever made of a solar eclipse, taken in 1900, has been rediscovered and restored.

The film was taken by British magician turned pioneering filmmaker Nevil Maskelyne on an expedition by the British Astronomical Association to North Carolina on 28 May, 1900. This was Maskelyne’s second attempt to capture a solar eclipse. In 1898 he travelled to India to photograph an eclipse where succeeded but the film can was stolen on his return journey home. It was not an easy feat to film. Maskelyne had to make a special telescopic adapter for his camera to capture the event. This is the only film by Maskelyne that we know to have survived.

I have embedded the movie below the fold.
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A Christmas Carol

As I have done in the past, to celebrate this Christmas day I give you the classic 1951 version of Charles Dickens’ A Christmas Carol, starring Alastair Sim It remains the best version, by far.

Dickens did not demand the modern version of charity, where it is imposed by governmental force on everyone. Instead, he was advocating the older wiser concept of western civilization, that charity begins at home, that we as individuals are obliged as humans to exercise good will and generosity to others, by choice.

It is always a matter of choice. And when we take that choice away from people, we destroy the good will that makes true charity possible.

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