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SHOWCASE :
The Vintage Original Soundtracks omedian Motion Picture
(Piring Hitam Lagu asli Film komedi Lama)
1.Student Prince,Mario Lanza
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The Student Prince (1954)107 min – Musical – 15 June 1954 (USA)
Users: 6.4/10 (347 votes) 14 reviewsThe World’s Greatest Love Musical Director:Richard Thorpe, and 1 more credit » Writers:Dorothy Donnelly (play), Sonya Levien, and 3 more credits » Stars: |
Mario Lanza (January 31, 1921 – October 7, 1959) was an American tenor
and Hollywood movie star of the late 1940s and the 1950s. The son of Italian immigrants, he began studying to be a professional singer at the age of 15. Orchestral conductor Arturo Toscanini
Arturo Toscanini was an Italian conductor. One of the most acclaimed musicians of the late 19th century and 20th century, he was renowned for his brilliant intensity, his restless perfectionism, his phenomenal ear for orchestral detail and sonority, and his photographic memory…
would reputedly later call him “the greatest voice of the twentieth century.” Others referred to him extravagantly as the “new Caruso”, after his “instant success” in Hollywood films, while MGM hoped that he would become the movie studio’s “singing Clark Gable
” due to his good looks and powerful voice.
After appearing at the Hollywood Bowl
The Hollywood Bowl is a modern amphitheater in the Hollywood area of Los Angeles, California, United States that is used primarily for music performances…
in 1947, Lanza signed a seven-year contract with MGM’s head, Louis B. Mayer
, who saw his performance and was impressed by his singing. Prior to this, Lanza had made only two appearances on an operatic stage, when in 1948 he sang the role of Pinkerton in Puccini
‘s Madama Butterflyin New Orleans.
His movie debut was in That Midnight Kiss, which produced an unlikely hit song in the form of Giuseppe Verdi
‘s operatic aria “Celeste Aida.” The following year, in The Toast of New Orleans, his featured popular song “Be My Love” became his first million-selling hit. In 1951, he starred in the role of his tenor idol, Enrico Caruso (1873–1921), in the biopic, The Great Caruso, which produced another million-seller with “The Loveliest Night of the Year.” It was the top-grossing film that year. The title song of his next film, Because You’re Mine, featured his final million-selling hit song. The song went on to receive an Academy Award nomination for Best Original Song. After recording the soundtrack for his next film, The Student Princehe walked out on the project after an argument with producer Dore Schary
over his behavior on the set.
Lanza was known to be “rebellious, tough, and ambitious”, and during most of his film career, he suffered from addictions to overeating and alcohol which had a serious effect on his health and his relationships with directors, producers and sometimes other cast members. Hollywood columnist Hedda Hopper
writes that “his smile, which was as big as his voice, was matched with the habits of a tiger cub, impossible to housebreak.” She adds that he was the “last of the great romantic performers”. He made three more films before dying of a heart attack at the age of 38. At the time of his death in 1959 he was still “the most famous tenor in the world”. Author Eleonora Kimmel concludes that Lanza “blazed like a meteor whose light lasts a brief moment in time.”
The Lanza “myth” was created by familiar Hollywood formulae, which took his social class and Italian-American identity and combined them with his good looks and exceptional talent as a singer to create the “poor boy makes good”, who is “transformed into a star”. He genuinely appealed to audiences worldwide, however, owing to his ability to cater to a wide variety of musical tastes. He could sing operatic arias, popular songs, Neapolitan favorites, operettas, sacred melodies and Great American Songbook
standards, making him what some call the “crossover artist supreme”.
Today, the “magnitude of his contribution to popular music is still hotly debated”, and because he appeared on the opera stage only twice, many critics feel that he needed to have had more “operatic quality time” in major theatres before he could be considered a great star of that art form. Nonetheless, his groundbreaking films, especially The Great Caruso, influenced numerous future opera stars, including José Carreras
, and Luciano Pavarotti
. According to opera historian Clyde McCants, “Of all the Hollywood singers who performed operatic music . . . the one who made the greatest impact was Mario Lanza,” while Hedda Hopper
stated, “. . . there had never been anyone like Mario, and I doubt whether we shall ever see his like again.”
Early years
Born Alfred Arnold Cocozza in Philadelphia, Pennsylvania
, he was exposed to classical singing at a young age by his Abruzzese
Italian immigrant parents. By the age of 16, his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA
Opera Company while still in his teens, he later came to the attention of conductor Serge Koussevitzky
, who in 1942 provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood
, Massachusetts. Reportedly, Koussevitzky would later tell him that, “Yours is a voice such as is heard once in a hundred years.”
Opera career
His operatic debut, as Fenton in Otto Nicolai’s The Merry Wives of Windsor(in English), came at the Berkshire Music Festival in Tanglewood on August 7, 1942, after a period of study with conductors Boris Goldovsky and Leonard Bernstein
. It was here that Cocozza adopted the stage name Mario Lanza, for its similarity to his mother’s maiden name, Maria Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having “few equals among tenors of the day in terms of quality, warmth, and power.” Herbert Graf subsequently wrote in the Opera News of October 5, 1942 that, “A real find of the season was Mario Lanza […] He would have no difficulty one day being asked to join the Metropolitan Opera.” Lanza performed the role of Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini’s La bohèmewith the noted Mexican soprano Irma González, baritone James Pease, and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942 that, “Miss González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations.” In an interview shortly before her death in 2008, Ms. González recalled that Lanza was “very correct, likeable, [and] with a powerful and beautiful voice.”
His budding operatic career was interrupted by World War II, when he was assigned to Special Services in the U.S. Army Air Corps
. He appeared in the wartime shows On the Beam and Winged Victory. He also appeared in the film version of the latter (albeit as an unrecognizable member of the chorus).
Lanza resumed his singing career with a concert in Atlantic City
with the NBC Symphony Orchestra
in September 1945 under the baton of Peter Herman Adler
, who subsequently became a mentor to him. The following month, Lanza replaced tenor Jan Peerce
on the live CBS
radio program Great Moments in Music, on which he made six appearances over a period of four months, singing extracts from various operas and other works. He then studied with noted teacher Enrico Rosati for fifteen months, acquiring a solid vocal technique that enabled him, in his own words, “to sing for hours without becoming tired.” His friend and colleague bass-baritone George London later recalled that, prior to working with Rosati, Lanza’s voice “was unschooled, but of incredible beauty, with ringing, fearless high notes. […] Rosati taught him to sing more lyrically, with less pressure, to good advantage.”
His studies with Rosati completed, Lanza embarked on an 86-concert tour of the United States, Canada and Mexico between July 1947 and May 1948 with George London and soprano Frances Yeend
. Reviewing his second appearance at Chicago’s Grant Park in July 1947 in the Chicago Sunday Tribune, the respected music critic Claudia Cassidy
praised Lanza’s “superbly natural tenor” and observed that “though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama.”
In April 1948, Lanza sang two performances as Pinkerton in Puccini’s Madama Butterflyfor the New Orleans Opera Association. The conductor was Walter Herbert
, the stage director was Armando Agnini
. Writing in the St. Louis News, critic Laurence Odel observed that, “Mario Lanza performed his duties as Lieut. Pinkerton with considerable verve and dash. Rarely have we seen a more superbly romantic leading tenor. His exceptionally beautiful voice helps immeasurably.” Following the success of these performances, Lanza was invited to return to New Orleans in 1949 as Alfredo in Verdi’s La traviata. However, as biographer Armando Cesari observes, by 1949 Lanza “was already deeply engulfed in the Hollywood machinery and consequently never learned the role [of Alfredo].”
Film career
A concert at the Hollywood Bowl
in August 1947 had brought Lanza to the attention of Louis B. Mayer
, who promptly signed Lanza to a seven-year film contract with Metro-Goldwyn-Mayer
. This proved to be a turning point in the young singer’s career. The contract required him to commit to the studio for six months, and at first Lanza believed he would be able to combine his film career with his operatic and concert one. In May 1949, he made his first commercial recordings with RCA Victor
. His rendition of the aria “Che gelida manina” (from La bohème) from that session was subsequently awarded the prize of Operatic Recording of the Year by the (United States) National Record Critics Association.
The Toast of New Orleans
Lanza’s first two starring films, That Midnight Kissand The Toast of New Orleans, were commercial successes, and in 1950 his recording of “Be My Love” became the first of three million-selling singles for the young singer, earning him enormous fame in the process. While at MGM, Lanza worked closely with the Academy Award-winning conductor, composer, and arranger Johnny Green
. In a 1977 interview with Lanza biographer Armando Cesari, Green recalled that the tenor was insecure about the manner in which he had become successful, and was keenly aware of the fact that he had become a Hollywood star before first having established himself on the operatic stage. “Had [Lanza] been already a leading tenor, if not the leading tenor at the Met[ropolitan Opera House], and come to Hollywood in between seasons to make a picture, he would have had [the security of having] the Met as his home,” Green remarked. According to Green, Lanza possessed “the voice of the next Caruso. [Lanza] had an unusual, very unusual quality…a tenor with a baritone color in the middle and lower registers, and a great feeling for the making of music. A great musicality. I found it fascinating, musically, to work with [him].”
The Great Caruso
In 1951, Lanza portrayed Enrico Caruso in The Great Caruso, which proved an astonishing success, though it did not adhere to the facts of Caruso’s life. At the same time, Lanza’s increasing popularity exposed him to intense criticism by some music critics, including those who had praised his work years earlier. Nevertheless, Lanza’s performance earned him compliments from the subject’s own son, Enrico Caruso Jr., a tenor in his own right. Shortly before his death in 1987, Enrico Jr. wrote in Enrico Caruso: My Father and My Family (posthumously published by Amadeus in 1990) that, “I can think of no other tenor, before or since Mario Lanza, who could have risen with comparable success to the challenge of playing Caruso in a screen biography. […] Mario Lanza was born with one of the dozen or so great tenor voices of the century, with a natural voice placement, an unmistakable and very pleasing timbre, and a nearly infallible musical instinct.” He went on to praise Lanza’s tempi and phrasing, “flawless” diction, and “impassioned” delivery, adding that, “All are qualities that few singers are born with and others can never attain.” In conclusion, he wrote that, “Lanza excelled in both the classical and the light popular repertory, an accomplishment that was beyond even my father’s exceptional talents.”
The Student Prince
In 1952, Lanza was dismissed by MGM after he had pre-recorded the songs for The Student Prince. The reason most frequently cited in the tabloid press at the time was that his recurring weight problem had made it impossible for him to fit into the costumes of the Prince. However, as his biographers Cesari and Mannering have established, Lanza was not overweight at the beginning of the production, and it was, in fact, a disagreement with director Curtis Bernhardt
over Lanza’s singing of one of the songs in the film that led to Lanza walking off the set. MGM refused to replace Bernhardt, and the film was subsequently made with actor Edmund Purdom
miming to Lanza’s voice. Ironically, the eventual director of the film was Richard Thorpe
, the same man whom Lanza had pleaded with MGM to replace Bernhardt, and with whom the tenor had enjoyed an excellent working relationship in The Great Caruso.
Depressed by his dismissal, and with his self-confidence severely undermined, Lanza became a virtual recluse for more than a year, frequently seeking refuge in alcoholic binges. During this period, Lanza also came very close to bankruptcy as a result of poor investment decisions by his former manager, and his lavish spending habits left him owing about $250,000 in back taxes to the IRS.
Serenade
Lanza returned to an active film career in 1955 in Serenade However the film was not as successful as his previous films, despite its strong musical content, including arias from Der Rosenkavalier, Fedora, L’arlesiana, and Otello, as well as the Act III duet from Otello with soprano Licia Albanese
.
. He then moved to Rome, Italy in May 1957, where he worked on the film Seven Hills of Rome, and returned to live performing in a series of acclaimed concerts throughout the UK, Ireland and mainland Europe. Despite a number of cancellations, which resulted from his failing health during this period, Lanza continued to receive offers for operatic appearances, concerts, and films.
In September 1958, he made a number of operatic recordings at the Rome Opera House for the soundtrack of what would turn out to be his final film, For the First Time. Here he came into contact with the Artistic Director of the Rome Opera, Riccardo Vitale, who offered him the role of Canio in Pagliacciin the theater’s 1960/61 season. Lanza also received offers from the management of the La Scala and San Carlo opera houses. However, his health continued to decline, with the tenor suffering from a variety of ailments, including phlebitis
and acute high blood pressure. His old habits of overeating and crash dieting, coupled with binge drinking, compounded his problems.
Death
In April 1959, Lanza suffered a minor heart attack, followed by double pneumonia
in August. He died in Rome in October of that year at the age of 38 from a pulmonary embolism
after undergoing a controversial weight loss program colloquially known as “the twilight sleep treatment,” which required its patients to be kept immobile and sedated for prolonged periods. Attenders at his funeral were the singers Maria Caniglia
and Lidia Nerozzi and the actors Franco Fabrizi
and Enzo Fiermonte
sent his condolences by telegram.
Lanza’s widow, Betty, moved back to Hollywood with their four children, but died five months later at the age of 37. Biographer Armando Cesari writes that the apparent cause of death, according to the coroner, was “asphyxiation resulting from a respiratory ailment for which she had been receiving medication”. In 1991, Marc, the younger of their two sons, died of a heart attack at the age of 37; six years later, Colleen, their elder daughter, was killed at the age of 48 when she was struck by two passing vehicles on a highway. Damon Lanza, the couple’s eldest son, died in August 2008 of a heart attack at the age of 55.
Legacy
Lanza’s short career covered opera, radio, concerts, recordings, and motion pictures. He was the first artist for RCA Victor Red Seal to receive a gold disc and the first artist to sell two and half million albums. A highly influential artist, Lanza has been credited with inspiring successive generations of opera singers, including Plácido Domingo
and José Carreras
. Singers with seemingly different backgrounds and influences were also inspired by his singing, including his RCA Victor label-mate Elvis Presley
.
In 1994, tenor José Carreras paid tribute to Lanza in a worldwide concert tour, saying of him, “If I’m an opera singer, it’s thanks to Mario Lanza.” Carreras’ colleague Plácido Domingo echoed these comments in a 2009 CBS interview when he stated, “Lanza’s passion and the way his voice sounds are what made me sing opera. I actually owe my love for opera thanks to a kid from Philadelphia.”
Filmography
- Winged Victory
Winged Victory (play)Winged Victory is a play and, later, a film by Moss Hart, originally created and produced by the U.S. Army Air Forces during World War II as a morale booster and as a fundraiser for the Army Emergency Relief Fund. Upon recommendation of Lt. Col. Dudley S. Dean, who had been approached with the…
, 1944 (uncredited chorus member) - That Midnight Kiss
That Midnight KissThat Midnight Kiss was the screen debut of tenor Mario Lanza, also starring Kathryn Grayson, and released by Metro-Goldwyn-Mayer. Among the supporting cast were Ethel Barrymore, conductor/pianist Jose Iturbi , Keenan Wynn, J. Carroll Naish, and Jules Munshin…
, 1949 - The Toast of New Orleans
The Toast of New OrleansThe Toast of New Orleans is a 1950 musical film directed by Norman Taurog and choreographed by Eugene Loring. It starred Mario Lanza, Kathryn Grayson, David Niven, J. Carroll Naish, James Mitchell and a teenaged Rita Moreno…
, 1950 - The Great Caruso
The Great CarusoThe Great Caruso is a 1951 biographical film made by Metro-Goldwyn-Mayer. It was directed by Richard Thorpe and produced by Joe Pasternak with Jesse L. Lasky as associate producer from a screenplay by Sonya Levien and William Ludwig. The original music was by Johnny Green and the cinematography by…
, 1951 - Because You’re Mine
Because You’re MineThis article is about the 1952 musical comedy film. For other uses see Because You’re Mine .Because You’re Mine is a 1952 musical comedy film starring Mario Lanza. Directed by Alexander Hall, the film also stars Doretta Morrow, James Whitmore, and Dean Miller.-Plot:Opera singer superstar Renato…
, 1952 - The Student Prince
The Student Prince (film)The Student Prince is a 1954 CinemaScope color film musical featuring, as the credits read, “the singing voice of Mario Lanza”. Lanza had become embroiled in a bitter dispute with MGM during production and the studio dismissed him. Under the terms of the settlement with Lanza, MGM retained the…
, 1954 (voice only) - Serenade
Serenade (film)
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Serenade, a 1956 Warner Bros. release, was tenor Mario Lanza’s fifth film, and his first on-screen appearance in four years. Directed by Anthony Mann and based on the 1937 novel of the same name by James M…
, 1956 - Seven Hills of Rome, 1958
- For the First Time
For the First TimeFor the First Time is tenor star Mario Lanza’s final film. Filmed on location in 1958 in Capri, Salzburg, Berlin and at the Rome Opera House, the film told the sentimental story of an operatic tenor who finds love for the first time with a young German woman , who happens to be deaf…
, 1959
Select recordings
- The Mario Lanza Collection, RCA
RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1991
- Mario Lanza: The Legendary Tenor, RCA
RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1987
- The Great Caruso And Other Caruso Favorites, RCA
RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1989
- Mario! Lanza At His Best
Mario! Lanza at His BestMario! Lanza At His Best is a CD released by BMG in 1995, and consists of two original albums recorded by tenor Mario Lanza. These are: the Neapolitan songs album Mario!, recorded in December 1958, and The Vagabond King, recorded in July 1959…RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1995
, RCA - Mario Lanza Live at Hollywood Bowl: Historical Recordings (1947 & 1951)
Mario Lanza Live at Hollywood Bowl: Historical Recordings (1947 & 1951)Mario Lanza Live at Hollywood Bowl: Historical Recordings is a 2000 CD, released by the Gala label, includes the six selections that tenor Mario Lanza sang at his first Hollywood Bowl concert in August 1947. This is the performance that first brought Lanza to the attention of Hollywood, and…
, Gala, 2000 - Mario Lanza Sings Songs from The Student Prince and The Desert Song
Mario Lanza Sings Songs from The Student Prince and The Desert SongMario Lanza Sings Songs from The Student Prince and The Desert Song is a 1989 BMG CD by Mario Lanza.This CD features most of the songs recorded by Mario Lanza for the 1954 MGM film The Student Prince…RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1989
, RCA - Serenade/A Cavalcade of Show Tunes
Serenade/A Cavalcade of Show TunesThe Mario Lanza CD Serenade/A Cavalcade of Show Tunes is a BMG UK “twofer”, released in 2004. Comprising the soundtrack album from the film Serenade, and the LP A Cavalcade of Show Tunes, the CD also includes a previously unreleased version of the song Serenade by Nicholas Brodszky and Sammy Cahn…RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 2004
, RCA - Mario Lanza: Opera Arias and Duets
Mario Lanza: Opera Arias and DuetsMario Lanza: Opera Arias and Duets is a 1999 CD which at the time of its writing was the only all-operatic Mario Lanza CD that BMG had released…RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1999
, RCA - Christmas With Mario Lanza, RCA
RCARCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…
, 1987
- Mario Lanza – The Broadway Collection, Rosetta Remastering, 2008
2.Comedian Motion Movie TRUST ME, about President Jimmi Carter,written and Produced by Hans Handersen, music The Pickers
4.American Graffiti
41 Original Hits from the Soundtrack of American Graffiti
| 41 Original Hits From The Soundtrack Of American Graffiti | |
|---|---|
 |
|
| Soundtrack album from American Graffiti by Various | |
| Released | August 1973 (LP) June 22, 1993 (CD) |
| Recorded | Various |
| Genre | Rock and roll, Oldies |
| Label | MCA 8001 |
| Producer | Gil Rodin (soundtrack producer) |
41 Original Hits From The Soundtrack Of American Graffiti is the official 1973 soundtrack album of the film American Graffiti. It has been certified triple platinum in the U.S., where it peaked at #10 on the Billboard 200 album chart.
Included in the film, but not on the soundtrack, are “Gee” by The Crows, “Louie, Louie” by Flash Cadillac & the Continental Kids, and Harrison Ford‘s in-character a cappella rendition of “Some Enchanted Evening“.
The song “Ain’t That a Shame” was a remake with a woman’s chorus, since Lucas could not obtain the rights to the original well-known original version by Fats Domino.
Also, the song “Party Doll” fades out earlier than the original version during the final chorus.
A second compilation, titled More American Graffiti (MCA 8007) (and not to be confused with the 1979 film sequel of that name) was issued by MCA in early 1975, with Lucas’s approval.[citation needed] It features more rock and doo-wop hits from the late ’50s and early ’60s (only one of which, the Crows’ “Gee”, was featured in the film), along with additional Wolfman Jack dialogue. A third and final oldies compilation, titled American Graffiti Vol. III (MCA 8008) was also issued by MCA in early 1976. All three albums were released as 2-record sets or double-length tapes, the tapes being quite hard to come by, now.
Track listing
LP
| Side one (Front side of record one) | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Original Artist and year | Length | ||||||
| 1. | “(We’re Gonna) Rock Around the Clock” | Bill Haley & the Comets 1954 | 2:08 | ||||||
| 2. | “Sixteen Candles” | The Crests 1958 | 2:48 | ||||||
| 3. | “Runaway” | Del Shannon 1961 | 2:18 | ||||||
| 4. | “Why Do Fools Fall in Love” | Frankie Lymon & the Teenagers 1956 | 2:14 | ||||||
| 5. | “That’ll Be the Day” | Buddy Holly 1957 | 2:14 | ||||||
| 6. | “Fanny Mae” | Buster Brown 1959 | 2:52 | ||||||
| 7. | “At the Hop” | Flash Cadillac & the Continental Kids 1973 | 2:25 | ||||||
| 8. | “She’s So Fine” | Flash Cadillac & the Continental Kids 1973 | 2:18 | ||||||
| 9. | “The Stroll” | The Diamonds 1957 | 2:26 | ||||||
| 10. | “See You In September” | The Tempos 1959 | 2:03 | ||||||
| Side two (Front side of record two) | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Original Artist and year | Length | ||||||
| 1. | “Surfin’ Safari” | The Beach Boys 1962 | 2:05 | ||||||
| 2. | “He’s The Great Imposter” | The Fleetwoods 1961 | 1:33 | ||||||
| 3. | “Almost Grown” | Chuck Berry 1959 | 2:09 | ||||||
| 4. | “Smoke Gets in Your Eyes” | The Platters 1959 | 2:37 | ||||||
| 5. | “Little Darlin’” | The Diamonds 1957 | 2:04 | ||||||
| 6. | “Peppermint Twist” | Joey Dee and the Starlighters 1961 | 1:58 | ||||||
| 7. | “Barbara Anne” | The Regents 1961 | 2:14 | ||||||
| 8. | “Book of Love” | The Monotones 1958 | 2:17 | ||||||
| 9. | “Maybe Baby” | Buddy Holly 1958 | 2:01 | ||||||
| 10. | “Ya Ya” | Lee Dorsey 1961 | 2:22 | ||||||
| 11. | “The Great Pretender” | The Platters 1955 | 2:35 | ||||||
| Side three (Back side of record two) | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Original Artist and year | Length | ||||||
| 1. | “Ain’t That a Shame” | Fats Domino 1955 | 2:31 | ||||||
| 2. | “Johnny B. Goode” | Chuck Berry 1958 | 2:38 | ||||||
| 3. | “I Only Have Eyes for You” | The Flamingos 1959 | 3:09 | ||||||
| 4. | “Get a Job” | The Silhouettes 1958 | 2:37 | ||||||
| 5. | “To the Aisle” | The Five Satins 1957 | 2:44 | ||||||
| 6. | “Do You Wanna Dance” | Bobby Freeman 1958 | 2:35 | ||||||
| 7. | “Party Doll” | Buddy Knox 1957 | 1:54 | ||||||
| 8. | “Come Go with Me” | The Del-Vikings 1956 | 2:37 | ||||||
| 9. | “You’re Sixteen – You’re Beautiful (And You’re Mine)” | Johnny Burnette 1960 | 1:56 | ||||||
| 10. | “Love Potion No. 9” | The Clovers 1959 | 1:53 | ||||||
| Side four (Back side of record one) | |||||||||
|---|---|---|---|---|---|---|---|---|---|
| No. | Title | Original Artist and year | Length | ||||||
| 1. | “Since I Don’t Have You” | The Skyliners 1958 | 2:35 | ||||||
| 2. | “Chantilly Lace” | The Big Bopper 1958 | 2:21 | ||||||
| 3. | “Teen Angel” | Mark Dinning 1960 | 2:35 | ||||||
| 4. | “Crying in the Chapel” | Sonny Till & the Orioles 1953 | 3:04 | ||||||
| 5. | “A Thousand Miles Away” | The Heartbeats 1957 | 2:25 | ||||||
| 6. | “Heart and Soul” | The Cleftones 1961 | 1:49 | ||||||
| 7. | “Green Onions” | Booker T. & the M.G.’s 1962 | 2:25 | ||||||
| 8. | “Only You (and You Alone)” | The Platters 1954 | 2:35 | ||||||
| 9. | “Goodnight, Well it’s Time to Go” | The Spaniels 1953 | 2:43 | ||||||
| 10. | “All Summer Long” | The Beach Boys 1964 | 2:05 | ||||||
Frame Two :
Golden Globe Award for Best Motion Picture – Musical or Comedy
Contents
|
//
1951-1957
1958-1962
| Year | Comedy | Director | Producer | Musical | Director | Producer |
|---|---|---|---|---|---|---|
| 1958 | Auntie Mame ‡ | Morton DaCosta | Morton DaCosta | Gigi † | Vincente Minnelli | Arthur Freed |
| Bell, Book and Candle | Richard Quine | Julian Blaustein | Damn Yankees | George Abbott & Stanley Donen | George Abbott, Stanley Donen, Robert E. Griffith, & Harold Prince | |
| Indiscreet | Stanley Donen | Norman Krasna | South Pacific | Joshua Logan | Buddy Adler | |
| Me and the Colonel | Peter Glenville | William Goetz | tom thumb | George Pal | George Pal | |
| The Perfect Furlough | Blake Edwards | Robert Arthur | ||||
| 1959 | Some Like It Hot | Billy Wilder | Billy Wilder | Porgy and Bess | Otto Preminger | Samuel Goldwyn |
| But Not for Me | Walter Lang | William Perlberg & George Seaton | The Five Pennies | Melville Shavelson | Jack Rose | |
| Operation Petticoat | Blake Edwards | Robert Arthur | Li’l Abner | Melvin Frank | Norman Panama | |
| Pillow Talk | Michael Gordon | Ross Hunter & Martin Melcher | A Private’s Affair | Director | Producer | |
| Who Was That Lady? | George Sidney | Norman Krasna | Say One for Me | Director | Producer | |
| 1960 | The Apartment † | Billy Wilder | Billy Wilder | Song Without End | George Cukor & Charles Vidor | William Goetz |
| The Facts of Life | Melvin Frank & Norman Panama | Melvin Frank & Norman Panama | Bells Are Ringing | Vincente Minnelli | Arthur Freed | |
| The Grass Is Greener | Stanley Donen | Stanley Donen & James H. Ware | Can-Can | Walter Lang | Saul Chaplin & Jack Cummings | |
| It Started in Naples | Melville Shavelson | Jack Rose | Let’s Make Love | George Cukor | Jerry Wald | |
| Our Man in Havana | Carol Reed | Carol Reed | Pepe | George Sidney | George Sidney | |
| 1961 | A Majority of One | Mervyn LeRoy | Producer | West Side Story † | Jerome Robbins & Robert Wise | Robert Wise |
| Breakfast at Tiffany’s | Blake Edwards | Martin Jurow & Richard Shepherd | Babes in Toyland | Jack Donohue | Walt Disney | |
| One, Two, Three | Billy Wilder | Billy Wilder | Flower Drum Song | Henry Koster | Ross Hunter | |
| The Parent Trap | David Swift | Walt Disney & George Golitzen | ||||
| Pocketful of Miracles | Frank Capra | Frank Capra | ||||
| 1962 | That Touch of Mink | Delbert Mann | Robert Arthur, Martin Melcher, Edward Muhl, & Stanley Shapiro | The Music Man ‡ | Morton DaCosta | Morton DaCosta |
| The Best of Enemies | Director | Producer | Billy Rose’s Jumbo | Charles Walters | Martin Melcher & Joe Pasternak | |
| Boys’ Night Out | Michael Gordon | Martin Ransohoff | Girls! Girls! Girls! | Norman Taurog | Hal B. Wallis | |
| If a Man Answers | Henry Levin | Ross Hunter | Gypsy | Mervyn LeRoy | Mervyn LeRoy | |
| Period of Adjustment | George Roy Hill | Lawrence Weingarten | The Wonderful World of the Brothers Grimm | Henry Levin & George Pal | George Pal |
1963-1969
1970s
1980s
1990s
2000s
2010s
| Year | Film | Director[1] | Producer[2] |
|---|---|---|---|
| 2010[9] | The Kids Are All Right ‡ | Lisa Cholodenko | Jeff Levy-Hinte,Gary Gilbert, Jordan Horowitz, Celine Rattray, Daniela Taplin Lundberg & Philippe Hellmann |
| Alice in Wonderland | Tim Burton | Richard D. Zanuck, Joe Roth, Suzanne Todd & Jennifer Todd | |
| Burlesque | Steven Antin | Donald De Line | |
| Red | Robert Schwentke | Lorenzo di Bonaventura & Mark Vahradian | |
| The Tourist | Florian Henckel von Donnersmarck | Graham King, Tim Headington, Roger Birnbaum, Gary Barber & Jonathan Glickman |
the end @ copyright Dr Iwan Suwandy 2011
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