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  1. The song is lip-sync'd at the very end of YELLOW SUBMARINE, and is available on its soundtrack CD.
  2. I apologize to those who find this topic offensive, but for the last decade, I've been among those silently wondering but never speaking this question out-loud.
  3. In BLAZING SADDLES, Gene Wilder yanks Cleavon Little out from behind a boulder so he can ask some Klansmen, "Where are the white wimmen?!!" I want to know "Where are the black women" and, more specifically, where are the dark women? They sure aren't in Hollywood films, TV or marketing campaigns. I don't know the ratio of dark African-American males being employed in film, TV and ads compared to dark women, but it could be - what? - 5000-to-1? 100,000-to-zero? I can't remember the last contemporary film, TV show or ad (commercials or print-ads) where a woman darker than the man is em
  4. My first viewing of the film left me humming some of the tunes. But after seeing it again and again, I was reminded that this is a film that has three great sililoquoys - one, you mentioned, is where Harold gives her the diamond ring. And Maude throws it into the bay {"...so I'll always know where it's at"). The other one is Maude's speech about Dreyfuss on Devil's Island, where Dreyfuss is remarking on the beautiful birds he sees on the beach at sunset. Some pal tells him they're only horrible ol' seagulls, but "to Dreyfuss, they were always beautiful birds." The third is her "go ou
  5. The dearth of actor-competitors to Clint's musical skills has always been surprising. While his PAINT singing isn't great - nor has his other efforts - they're still there for all to listen. Yeah, maybe you're right - that's not saying much! ha ha Like Woody Allen, however, he is one filmmaker that has taken a huge personal interest in his films' scores. And frankly, his tribute film BIRD is far and away the better realized effort compared to Woody's unpleasurable SWEET & LOWDOWN (I realize that everyone supposedly wants to be in a Woody Allen film, but jeepers, Sean - maybe you cou
  6. While I don't believe many professionals or fans decry the end of the 'studio system' (where pros were under contract to one studio for years), the studio system did provide a lot of skill development other than acting - singing, dancing, playing musical instruments. Even if actors didn't use those skills often, they would come back to 'haunt' audiences later. (I'm watching John Wayne sing in THE QUIET MAN - the little bar-room ditty - not a big stretch, but thar he goes!) During the '60s, '70s and '80s, I can't really name too many of that era's film stars that demonstrated a range o
  7. Ollie

    Ben Hur

    Pink, I don't get to see this film off of TV often, but it was on a local summer filmfest schedule and I forgot how powerful the chariot race's sound was. And then, on today's modern sound systems, it was even more thundering. This is one of those films that explode on the big screen. This was a strong Heston performance, but I also like his EL CID and MAJOR DUNDEE performances, too (both of which oddly end up with Heston's impalement...hmmm - I wonder if these influences his preferences for guns being used to kill people? ha ha).
  8. (After reading the PAT GARRETT and HOW I WON THE WAR threads, I was thinking that HAROLD & MAUDE might be an interesting movie to recommend.) This film showed up in 1971 and reviews called it 'one of the best scored films'. When I saw it, I realized how great contemporary music could make a film all the more potent. This is a pretty quirky film, but I would still nominate this film as Best Scored Film and Best Film Editing, particularly because of the climactic final scene, which splits the screen into 3 time viewpoints (a "before", a "during" and an "after" view, all side-by-side
  9. Pink, I was thinking "Lennon in his round glasses" were introduced to the public in this film. Short hair, too. This was the first appearance of a Beatle in something other than their trademark locks, all of which had been growing longer during those previous two years. Up to that point, the few photos of Lennon In Glasses were the Foster Grants (a short clip in HELP! and behind the scenes photos from their '64-'65 insanity. Then somewhere during this film's work schedule (1966), he shaved down and donned the WWII-type specs, and never got away from them. I remember his shorn appe
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