Mr. Morricone was a boldly adventurous composer who saw himself as a full partner in telling stories on-screen. He thrived with directors known for their visual excess, including Tarantino, Sergio Leone and Brian De Palma.
But Mr. Morricone, whose scores could be gritty, unsettling or exquisitely gentle, was impossible to categorize. His portfolio seemed to span every conceivable mainstream genre, including comedy, drama, romance, horror, political satire and historical epic.
And to understand better the embrace of film and score, see this very knowledgeable essay by Bilge Ebiri about the best pieces as they were used within the context of individual scenes in the films themselves. For example:
Though much of A Fistful of Dollars’ score is quite spare, for the final showdown, Morricone gives us something altogether more melodic and traditional. This ornate trumpet dirge popped up earlier in the film as well, but here, it fits perfectly — as the clouds of dynamite smoke and dust blow away to reveal Clint Eastwood’s character, seemingly back from the dead to exact retribution on Ramon Rojo and his gang. This has become established as one of Morricone’s signature pieces, which is somewhat ironic, as it’s also an homage to Dimitri Tiomkin’s score for Howard Hawks’s John Wayne Western Rio Bravo.
Morricone was a giant in the history of film. May his memory be a blessing.
I had the privilege of writing a tribute to one of my all-time favorites, Carl Reiner for rogerebert.com. He was a legend in every possible form of entertainment, as a writer, actor, showrunner, director, and resident wit on social media. From his time in the legendary writers’ room of “Your Show of Shows” alongside Neil Simon, Larry Gelbart, Woody Allen, and his lifetime best friend Mel Brooks to his 2020 appearance in Pixar’s “Forky Asks a Question” series, his mentorship to newcomers Mary Tyler Moore, Steve Martin, Dick Van Dyke, and many others, his affectionate skewering of popular culture, he was a major force in the culture of more than half a century.
I love this affectionate remembrance from TCM.
Here is one of my favorite moments from what Reiner said was his best creation, “The Dick Van Dyke Show.”
We mourn the loss of Peter Fonda, a fine actor whose work was overshadowed by his Oscar-winning father, Henry Fonda, and sister, Jane Fonda. He will be best remembered for “Easy Rider,” a film that turned Hollywood upside down in the late 60’s with its fiercely independent spirit on and off-screen.
From the start of his stardom, the actor, director, filmmaker, producer, activist, and father of actress Bridget Fonda (“Jackie Brown,” “Point of No Return”) had a complicated vision of his time and country. It endured as he aged and started playing roles that commented on his youthful stardom. His signature works are “The Wild Angels,” “Easy Rider,”, “Dirty Mary, Crazy Larry,” “The Hired Hand,” “Ulee’s Gold,” “The Limey,” “Escape from L.A.,” and “Ghost Rider.” All were animated by words and phrases that might pop into the heads of Peter Fonda fans when they thought about his career: motorcycles, counterculture, hippies, drugs, alienation, chaos, romanticism, regret, philosophical reflection, world-weariness, hope, and fathers and sons.
It was just six years earlier that he played bland Sandra Dee’s bland love interest in the ultra-bland “Tammy and the Doctor.”
But then, the same year that the film of the Woodstock festival came to theaters, he co-wrote, produced, and starred in the film that was so transformative it led the title of one of the best books ever written about Hollywood history. As Variety wrote, the film “shook up Hollywood and revolutionized the country’s sense of itself….He was the youth-culture version of an icon, rebel son of the archetypal patriarch, and it meant something seismic to see a figure like this — the descendant of American royalty, who could have gone the Ivy League route, or else enlisted in Vietnam — reject his father’s relatively conservative values.” The film cost just $400,000 but made $60 million. Hollywood might not have understood the counterculture, but it understood box office economics.
In 1997, he played the title role in “Ulee’s Gold.” Director Victor Nunez remembered, “When we started shooting, he was an inspiration on the set. He did a lot of scenes with real, swarming bees. But Peter never got stung. Which says something about him as an actor — he could even charm the bees.”
We mourn the loss of sweet-voiced, sweet-spirited Russi Taylor, who was the voice of Minnie Mouse and many other animated characters. Michael Cavna has a lovely tribute to her in the Washington Post, and to her made-for-a-movie love story with — wait for it — the guy who voiced Mickey. They met when she was cast as Minnie in 1986, and fell in love.
She did other characters as well.
“When they were together, like Laurel and Hardy, they were just meant to be together as a team — and as a lifelong team,” Farmer said. “If you looked in Webster’s and saw the word ‘marriage,’ it should have a picture of Wayne and Russi.
“They were just so in love and so wonderful together. I think that love came through in their performances, and gave it a little something extra.”
We mourn the loss of one of Hollywood’s brightest lights, Doris Day. Sometimes dismissed as the perpetually virginal star of silly comedies, Day was in fact one of the most versatile performers in history. Like Frank Sinatra and Bing Crosby, she was at the top of her field in music, comedy, and drama. More important, even in the late 50’s to early 60’s, one of the most repressive times in American history for women just before the explosion of the feminist movement, she consistently played independent professional women who stood up for themselves and others, even in her frothiest comedies. And she was really quite sexy. Of the three movies she made with Rock Hudson that made their pairing iconic (and their friendship enduring), in one of them she was interrupted just as she was about to seduce him, in another she actually slept with him and became pregnant (when intoxicated), and in the third they were married throughout the film. As A.O. Scott wrote in the New York Times,
The truth, hidden in plain sight in so many of her movies and musical performances, is that Doris Day was a sex goddess….The color schemes and production designs in the Hudson-Day comedies pulsate with whimsy. The atmosphere is pure camp, of the zany rather than the melodramatic variety. Every line sounds like a double-entendre. Every encounter is full of implication and innuendo, every character a collection of mixed signals.
These movies are naughty beyond imagining, and as clean as a whistle. In “Pillow Talk” — in effect the first movie about the pleasures and consequences of phone sex — Hudson and Day take a bath together. It’s a split-screen shot, but still.
NOTE: “Pillow Talk” was directed by the grandfather of Joseph Gordon-Levitt.
In “Pillow Talk” and “Lover Come Back” Day played exceptionally capable professional women (a decorator and an advertising executive) who persisted despite despicable treatment from the men around her (in “Lover Come Back” Hudson plays a rival ad-man who gets clients by getting them drunk and getting them girls). In “Calamity Jane” she played the legendary sharp-shooter and in “Pajama Game” she was a factory worker and union steward fighting for the rights of the workers while falling in love with the executive played by John Raitt. Okay, in “The Thrill of it All” she plays a stay at home mother who puts her marriage to a handsome OB-GYN (James Garner) at risk by accepting a job as spokesmodel for a soap company and gives it all up after she witnesses her husband assisting at the miracle of birth, and in “Move Over Darling” she plays a housewife who returns home after being shipwrecked while her predecessor in the original version had been on a scientific expedition, but it was the early 60’s and now you get the idea of what life was like before the women’s movement.
Her comic performances were as good as any that have ever been put on film. No one gets funny-angry better than Doris Day.
She originally wanted to be a dancer but after she shattered her leg in an accident, she taught herself how to sing, and her singing was not just tuneful but exquisitely phrased and expressive. She had a number of hits including “It’s Magic” from her first film appearance, “Romance on the High Seas.” She stole the film from its immensely talented established stars.
Here is my favorite Day song, “Perhaps Perhaps Perhaps” on the soundtrack of “Strictly Ballroom.”
Her dramatic performances were also outstanding, not just her performance as singer Ruth Etting in “Love Me or Leave Me,” but also her neurotic wife (significantly, a one-time singer who gave up her career to be married) in Hitchcock’s remake of his own The Man Who Knew too Much.
We will miss Doris Day. May her memory be a blessing always.