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someone to watch over me movie soundtrack

production on Broadway. might be, we are fortunate to have Lawrence's own contemporaneous recordings with "their special elegance and humor, that at their best characterized Gershwin's musical comedies in their own time" (Pollack, p. 389). ), 1959 The spot for the song finally settled on came mid-way through act 2 and found her singing it as a ballad. More Video: View/listen to original recording on 78 RPM disc from 1926 and 1927 recordings at left. [13] Shout! background-color: #FBECD5; (paper bound edition shown), George Gershwin: His Life and Work bookfrom the British writing team of P. G. Wodehouse and Guy Bolton. As far as we know, she has not recorded the song.) "[26] Pauline Kael observed in The New Yorker that Scott "has put so much morbid, finicky care into this silly little story that he's worried the fun out of it."[27]. album: Sarah Vaughan Video: same track as on album shown above He adds that it doesn't hurt if the stars are properly aligned (pp. She is despairing of her chances for winning his affection, or, for that matter, of ever finding anybody to care for her. According to Ted Gioia, Eddie Condon (who played guitar on some of the other tracks during the session for the Gershwin portion of this CD) "must have been impressed [with the song] since he added it to his repertoire in the mid-1940s," which was important in bringing "Someone To Watch Over Me" to the attention of the jazz community and eventually to the public in general after the song had slipped in popularity. Disclaimer: This site does not store any files on its server. body { recorded October 25, 1927. during the London run of Oh, Kay! Feinstein sums up what makes a great theater love song by enumerating the crucial elements present in "Someone To Watch Over Me": "a memorable and emotionally affecting tune; a lyric that amplifies the music, captures the mood, and moves the story along; a great show to set it in; and a great star to sing it." But when Chet Baker sings the song we get. Ira Gershwin, Edward Jablonski Sting Artie Shaw From Philadelphia the show continued its previews in Newark, New Jersey, and then opened on Broadway at the Imperial Theater on Nov. 8, for the longest run of a Gershwin show up to that point. Video: Similar track to one on album shown above -- Sting vocal with piano only accompaniment Dietz, who had not yet partnered up with Arthur Schwartz nor achieved the fame he later would as part of the songwriting team of Schwartz and Dietz, was chosen to fill in by George over the more obvious possibilities of Oh, Kay! } George Gershwin composed the music knowing only the show's general structure, a structure that would include, like all shows of the time, up-tempo dance numbers; therefore, he wrote a lively piece of music and labeled the tempo "scherzando" (lively and playful). albums: various, Notes: The Amazon link above above is to a discography of albums eac of which includes a Lawrence version of "Someone to Watch Over Me." The stand-out track on the recording is definitely 'Someone to Watch Over Me' which Blossom approaches as if she is writing the very words into her diary or whispering them into a prayer locket." background-color: #FBECD5; [6] By September the project had shifted to Columbia Pictures where David Puttnam, who produced Scott's debut feature The Duellists, was head of production. Notes: Shaw recorded "Someone To Watch Over Me" early (1945), a very good swing era orchestra recording; and late (1954) that could be described as sophisticated swing with a touch of bop in which Shaw was tipping his clarinet to the successors of swing. Sun Sentinel; Fort Lauderdale [Fort Lauderdale]11 July 1986: 17. Menu. An insane independent film director and his renegade group of teenage film makers kidnap an A-list Hollywood actress and force her to star in their underground film. (Please complete or pause one Michael Feinstein (piano) Movie: Someone To Watch Over Me (1987) info with movie soundtracks, credited songs, film score albums, reviews, news, and more. George Gershwin biographer Edward Jablonski in recounting Dietz' role in contributing to Oh, Kay! and it evolved into the show's most successful song, then into a hit and finally into a standard. Video: Not the same track as on album but similar The album version is a shorter, studio performance. The sets are so sumptuous, you'll want to move right in. They were apparently not that concerned with integration. He notes that in his video, the piano Intro. Both Deena Rosenberg and Michael Feinstein have stated more or less flat out that the Gershwin's never wrote a song for a show without a dramatic context in mind. He is, of course, exactly correct about "the ballad quality associated with the song" ever since. video before starting another. Video: same track as on album shown above ), 1968 } either iTunes/LinkShare or Amazon.com). 1996. background-color: #FBECD5; He is a married man, but immediately falls for Claire. It was not unusual for the songs in Gershwin shows of the period to be at least sketched out before their exact use was determined. body { She sings "Someone To Watch Over Me" alone on stage with only the doll as a candidate to take care of her, thus intensifying the "wistful" quality that both he and Ira had discovered when early on George had inadvertently slowed down the tempo -- which turned out to be integration enough. Music-Video: same track as on album shown above -- View and listen at left, 1939, 1944 Mike is assigned to protect her in the night shift in her Manhattan apartment. New York: Oxford University Press, 1995. video before starting another. Either Wilder's threshold tempo for a ballad is quite low or he must have heard or remembered incorrectly how Lawrence sang it. The Guardian (1959-2003); London (UK) [London (UK)]19 Sep 1987: 19. background-color: #FBECD5; . } George insured, according to Deena Rosenberg, that the gap would be filled by supplying "Miss Lawrence," as he called her, with the doll he had found. video before starting another. . video before starting another. On its fifth and final week it made $1 million, a 20% increase for a total of $10.3 million. (Please complete or pause one The show also satirizes, according to Gershwin biographer Howard Pollack, "American self-righteousness," and includes humor that was "unusually adult" for the typical romantic comedy of the time. The actions that drive the baroquely complicated plot are the efforts made to save playboy Jimmy Winter* from his unfortunate marital entanglements so he can become engaged to Kay; and to save Kay's brother, a destitute English duke turned bootlegger, and his underworld cronies from the law. One of the most appealing characters is Shorty McGee, a small-time hood, played by Victor Moore (the comic actor who a decade later would play Fred Astaire's sidekick in the 1936 movie, Swing Time). To keep the movie going until its absurd ending, the character of the murderer is changed, midstream, from an ordinary, run-of-the-mill New York mobster into a crazed psychotic. Although I may not be the man Here is how she recorded it during the run of the show: Gertrude Lawrence 1926 New York Victor recording of On the other hand, when George recorded his piano version in 1926, he followed his original scherzando direction. He recollects, "This doll was a strange looking object I found in a Philadelphia toy store and gave to Miss Lawrence with the suggestion that she use it in the number. body { body { Most subsequent versions, including one staged by Wodehouse and Bolton themselves in 1961, have been adapted to try to catch the rhythm of succeeding eras, but with limited success. (Please complete or pause one album: Exclusively for My Friends (box set), Vol. In order to write a review on digital sheet music you must first have purchased the item. album: What's New. (Please complete or pause one Barbra Streisand of California Press On the album referenced above, Wiley, often his vocalist, is accompanied by Condon's band with Condon on guitar; other personnel on the album include Edmond Hall, Joe Marsala, Pee Wee Russell (clarinet); Ernie Caceres (soprano saxophone, baritone saxophone); Dick Cary (trumpet, cornet); Max Kaminsky, Billy Butterfield (trumpet); Muggsy Spanier, Wild Bill Davison, Bobby Hackett (cornet); Benny Morton's All Stars, Lou McGarity, Miff Mole, Tommy Dorsey (trombone); Jess Stacy, Joe Bushkin, Gene Schroeder (piano); Joe Grauso, Gene Krupa, George Wettling, Danny Alvin, Big Sid Catlett, Johnny Blowers (drums). The idea for Lawrence to include a rag doll in her performance of "Someone To Watch Over Me" originated with none other than the versatile multitasker George Gershwin himself, who was apparently not only the composer but a momentary propman, choreographer and director. Accompanying her is her straitlaced boyfriend, Neil Steinhart (John Rubinstein). Amy Winehouse traveled to London where it opened at His Majesty's Theatre on September 21, 1927, with a new cast except for Lawrence who remained. (Please complete or pause one [4][5] Ridley Scott made the film following Legend which had been a notable box office failure. body { video before starting another. Only then would Ira would create an appropriate lyric (Lyrics on Several Occasions, p 111, paperback Ed.). She was not the generic flapper of earlier Gershwin shows but a multi-faceted figure, one who came from wealth but was streetwise, one whose personas in the show included an "urbanely flippant" society lady, a housemaid with a brash Cockney accent, and an innocent, vulnerable and naive young woman. (In fact, he is not a bootlegger but, conveniently for the plot, an American playboy millionaire, owner of the mansion where the lady's brother, a down-and-out English duke turned bootlegger, has stashed his hooch.) All she knows is that she wants him to "turn out to be [that] someone to watch over me," reinforcing the needy and innocent side of her character. Coleman Hawkins, tenor sax; Howard McGhee, trumpet; Sir Charles Thompson, piano; Allen Reuss, guitar; John Simmons, bass; Denzil Best, drums, recorded Los Angeles, March 9, 1945. 111-112, paperback Ed.). } in its original form (Jablonski, p. 133). video before starting another. They Can't Take That Away from Me ), 1965 Actors: Andreas Katsulas, Daniel Hugh Kelly, James E. Moriarty, Jerry Orbach, John Rubinstein, Lorraine Bracco, Mark Moses, Mimi Rogers, Tom Berenger, Tony DiBenedetto, The story of a super-secret spy organization that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted…, When a woman is convicted of murder, one of the jurors selected to serve on the murder-trial jury believes the accused, an aspiring actress, is innocent of the crime and…, Dave Lizewski is an unnoticed high school student and comic book fan who one day decides to become a super-hero, even though he has no powers, training or meaningful reason…, Young and good looking Katya, a window dresser for a big department store in Pittsburgh, begins a love story with a journalist, Mac Odell. [7] Tom Berenger was cast in the lead role on the strength of his performance in Platoon. When Venza threatens Claire, Mike and Claire eventually become closer—and Mike finds himself divided between the love for his family and his heated passion for Claire and his fascination of her world. His small group here includes Artie Shaw, clarinet; Hank Jones, piano; Tal Farlow, guitar; Joe Puma, guitar; Tommy Potter, bass; Joe Roland, vibes; and Irv Klugar, drums. Such permission will be acknowledged in this space on the page where the image is used. It was written for the musical Oh, Kay! Coleman Hawkins The story was typical for Twenties shows that featured complicated plots tossing together the rich and famous with the hoi polloi. video before starting another.

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