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About: The 90-minute concert recording sees Sivert Høyem perform 17 classic songs, spanning his 20-year career, both as a solo artist and as the lead singer of Madrugada. Ever since the release of Madragada’s debut album “Industrial Silence”, Sivert Høyem has regularly performed in Greece building a faithful fanatic base among melody lovers, making such a memorable happening possible.
About: Redheads on Parade is a 1935 American musical movie directed by Norman Z. McLeod and written by Don Hartman and Rian James. The movie stars John Boles, Dixie Lee, Jack Haley, Raymond Walburn, Alan Dinehart and Patsy O'Connor. The movie was released on August 30, 1935, by 20th Century Fox and produced by Fox Film.
About: This 1969 BBC production is about as close as we can receive to a definitive ver of Benjamin Britten's PETER GRIMES, one of the best 20th Century operas. The storyline of the individualistic fisherman hounded by his neighbors who trust he murdered his young apprentice packages tremendous emotional power. The compelling narrative is richly enhanced by its subtexts: the lone outsider vs the conformi...
About: Crazy for You is a romantic comedy musical with a ebook by Ken Ludwig, lyrics by Ira Gershwin, and melody by George Gershwin. Billed as "The Fresh Gershwin Musical Comedy", it is largely based on the songwriting team’s 1930 musical, Woman Crazy, but incorporates songs from few another productions as well. Crazy for You won the 1992 Tony Award (Broadway) 1993 Olivier Award (London) and 1994 Dora A...
About: This melody video is the premiere collection of your favorites from The Animated Character Classics series. Original scores and stunning animation combine to make an educational and entertaining musical adventure through history! Your family will play hours of sing-along and listening fun (each song details hilighted lyrics to create sing-alongs a treat for everyone) while sharing the positive, ch...
About: When the old University Professor discovers that some of his pupils often sneak into a speakeasy, The Blue Angel, to visit a dancer, Lola, he comes there to confront them. But instead he is attracted to Lola. He returns the next night to The Blue Angel to spend time with Lola and stays overnight. This causes issues at his work and his life takes a steep downward spiral.
About: Johannes Felsenstein’s production of HANSEL AND GRETEL presents it with each sinister element removed. The kids remain in a home setting with their own bed central to the stage and the barest tip of a forest behind, while their father plays the witch as an amiable, fully benevolent figure, not sinister at all, even joining them in the final joyful ensemble. When they sing that the witch is dead, y...
About: Engelbert Humperdinck's beloved musical fairy tale HÄNSEL UND GRETEL is brought to life by Sir Georg Solti and an illustrious cast - all part of a shimmering production that continues to enchant audiences of all ages.
About: Depeche Mode Live in Berlin' was filmed on zone at the O2 Globe Berlin on November 25th and 27th, 2013 during the band's extremely successful 'Delta Machine' Tour which saw them enjoy to over 2.4 million folks in 32 countries. Depeche Mode was touring in help of their lauded 13th studio album, Delta Machine, which debuted at #1 in 12 countries worldwide in March 2013. The CD will contain not only ...
About: A booking agent attempts to sell his clients. Performing acts contain Eileen Barton, The Large Apple Dancers, the Paul Florenz Girls, dancers Richards and Adrienne, the Fashionaires, Flash and Dash, and the Royal Duo.
About: The present brings successes of his career, songs from the fresh CD and unpublished songs in his voice. In the script, songs from the fresh album as 'Casablanca' and 'Barulho' (both by. which inspired the album's title.
About: Steve Harvey hosts this unique Christmas edition of Showtime at the Apollo. Christmas comes early to Harlem as entertainers from all over the globe come together on one scene to share their gifts. With performances by Boyz II Men, Snoop Dogg, DMX and Fifth Harmony.
About: Taraji P. Henson, Golden Globe-winning star of EMPIRE and the film “Hidden Figures,” is back this vacation season to spread cheer, goodwill and some vacation magic in this third annual melody and tons special.
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And it's one of the most intense, compacted moments of joy in the cinema. I gotta have watched this minimalist melody video-- Teddy Wilson's orchestra with the young Ella Fitzgerald delivering a ballroom swing number of the late 1930s, scratchily recorded-- fifty times... and never failed to be uplifted, and never known quite why.It's a continuous take, panning west, of a broken-down old clifftop fence-cum-hedge, sometimes floral, sometimes bare. At the end (as the vocal refrain ends and the orchestra slides into the final recapitulatory chorus) the camera eye soars calmly up into the wide blue yonder, crossing a telephone wire, and fades. And that's it.Sheer magic, a visual haiku. One hates to be at a loss for critical words, but 'All My Life' defies them. Just see it.
After accidently stumbling across the entry for Bruce Baillie's marvellous ALL MY LIFE, I was amazed to see that it had yet to obtain even five votes. Well, not amazed exactly -- it is after all a three minute long avant-garde film set to the Ella Fitzgerald song ALL MY LIFE -- but a tiny disappointed nonetheless. For those of you who haven't read the plot summary (so to speak), ALL MY LIFE is a film about a fence. A three minute pan left of a fence. To spice things up, there are even a several rose bushes and a final tilt up to the sky as the song comes to an end.But why is this film so good? I think one reason is perhaps the calmness that comes from its minimalism. It was made in the mid-sixties at a time when the American avant-garde movement was really booming: Andy Warhol, Stan Brakhage, et al. That was also a boom period for the drug stage (just listen to The Beatles!), and you can see a definite shift toward psychedelia and sensory overload. Even Warhol, for all his banality, was still in yer face. ALL MY LIFE, with its pared down mise-en-scene and melody track that recalls an earlier era, seems to enjoy in the another direction. An analogy might be the Talking Heads film STOP MAKING SENSE, which adopted a very classical style in favour of the rock razzledazzle and MTV aesthetic that one associates with the mid-1980s.But ALL MY LIFE is deceptively easy and unassuming. There isn't room to do it justice here, but the implications of the pan left or the tilt to the sky seem quite profound -- even transcendental, as we observe the seemly banal and look up towards the heavens. It also quite simply reminds you that there's more to cinema than hyperfast cutting (stand up Mr Michael Bay) or supposedly breathtaking unique results (Mr Lucas). And, hey, if Bruce Baillie can do it with a fence, why can't you?!
I can't tell that the prospect of a 3-minute leftwards pan was appealing to me, but I now found 'All My Life (1966)' quite relaxing. A filmmaker could never underestimate the power of a well-chosen soundtrack, and Ella Fitzgerald's "All My Life" works perfectly, evoking a simpler time and place. I don't see any reason why a backyard fence, examined from right-to-left, could be nostalgic in any way, but it is. The camera follows along the length of the fence, sometimes tilting upwards to take into acc the bushes, and ends the movie by rising up into the sky, passing a telephone wire and losing itself in the emptiness of the blue overhead. Aside from the camera movements, there's no action and no story. Just a fence, that music, and the memory of a childhood you'd forgotten.Many of the avant-garde movies of the 1960s have a tendency to be unintelligible, and often very grating. 'All My Life' doesn't really have an obvious mission to it, but, whatever it's doing, it seems to create a lot of sense. Maybe the length of fence represents a man's life (the film's game seems to help this idea). The missing pickets represent our mistakes in life. The continual leftwards-panning of the camera is inspired by the concept that, though we transport leisurely through our lifetimes, we are nonetheless constantly moving forward, never able to turn around and correct the mistakes of our past, having everytime to suffer the consequences of our errors. At the end of our fences, of course, we go to Heaven, fully removed from the life we'd lived before. It's a novel interpretation, perhaps, but I like it.
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