harry-76
Joined Mar 1999
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harry-76's rating
Take a journey back to the mid-40s and enjoy this weepie about lost love and balancing pleasant memories against present endowments.
Colbert's character must wrestle with what she "lost" twenty years ago and what treasures she now has. Welles' character is there to assist in her deliberations, while Brent offers a conciliatory bridge between what was and is now.
The casting couldn't be bettered: what a treat to see Colbert and Welles working together. This provided Orson with one of his most sensitive roles, and he plays it with great compassion. Colbert and Brent are both excellent, and young Natalie Wood offers a most impressive performance as a war refugee. Richard Long is likewise fine as an idealistic young man wanting to do his part to make this a better world.
Max Steiner's score is unusually rich, complete with high voices mixed with strings, and a romantic main theme highlighting the essence of this sentimental script.
Irving Pitchel's direction is on target for this emotional material. Very beautifully rendered.
Colbert's character must wrestle with what she "lost" twenty years ago and what treasures she now has. Welles' character is there to assist in her deliberations, while Brent offers a conciliatory bridge between what was and is now.
The casting couldn't be bettered: what a treat to see Colbert and Welles working together. This provided Orson with one of his most sensitive roles, and he plays it with great compassion. Colbert and Brent are both excellent, and young Natalie Wood offers a most impressive performance as a war refugee. Richard Long is likewise fine as an idealistic young man wanting to do his part to make this a better world.
Max Steiner's score is unusually rich, complete with high voices mixed with strings, and a romantic main theme highlighting the essence of this sentimental script.
Irving Pitchel's direction is on target for this emotional material. Very beautifully rendered.
Three quarters of this Porter portrait is like a musical tree, full of song and dance, with dramatic ornaments dangling cheerfully from its branches.
We're treated to a delightful roster of Cole's tunes and lyrics and, yes, they're delicious and delectable.
I particularly liked the spirit and spunk of the performers, and the way Director Irwin Winkler allowed the music to carry the day. He also kept the film moving with quick editing and scenic changes.
After Porter's riding accident and the decline of his spouse, Jay Cocks' script allows the drama more leeway, and the tone turns more poignant. Still, a few upbeat numbers are cleverly inserted in the latter part to balance things out.
Kevin Kline offers a heartfelt characterization of this beloved composer, and the entire production honors Porter's greatest asset--his absolutely marvelous musical creativity.
We in the audience tap our feet, hum some tunes, and applaud a most de-lovely film.
We're treated to a delightful roster of Cole's tunes and lyrics and, yes, they're delicious and delectable.
I particularly liked the spirit and spunk of the performers, and the way Director Irwin Winkler allowed the music to carry the day. He also kept the film moving with quick editing and scenic changes.
After Porter's riding accident and the decline of his spouse, Jay Cocks' script allows the drama more leeway, and the tone turns more poignant. Still, a few upbeat numbers are cleverly inserted in the latter part to balance things out.
Kevin Kline offers a heartfelt characterization of this beloved composer, and the entire production honors Porter's greatest asset--his absolutely marvelous musical creativity.
We in the audience tap our feet, hum some tunes, and applaud a most de-lovely film.
This eleven minute film that came out toward the end of WW2 conveyed a message of religious tolerance and acceptance of people's differences.
It's notable in that it featured a young Frank Sinatra, singing two very beautiful songs, "If You Are But a Dream" and the title song. Both have rich orchestral arrangements by Alex Stordahl, one of Sinatra's favorite music directors at the time.
Earl Robinson, composer of the title song, was also noted for his "Ballad for Americans," which Paul Robeson made famous. In spite of these two nobly patriotic compositions, Robinson was one of the "blacklisted" artists (along with Robeson) by the House of Un-American Activities, which today seems ironic.
Not available on DVD or VHS at this writing, "The House I Live In" was seen on tv following a showing of Sinatra's debut film, "Higher and Higher." Although Frank's voice is lighter here than generally remembered, it still exhibits his trademark smooth lines, firm breath control and clear diction. His acting forecasts his later work, and the film makes its admirable points within a short time frame.
It's notable in that it featured a young Frank Sinatra, singing two very beautiful songs, "If You Are But a Dream" and the title song. Both have rich orchestral arrangements by Alex Stordahl, one of Sinatra's favorite music directors at the time.
Earl Robinson, composer of the title song, was also noted for his "Ballad for Americans," which Paul Robeson made famous. In spite of these two nobly patriotic compositions, Robinson was one of the "blacklisted" artists (along with Robeson) by the House of Un-American Activities, which today seems ironic.
Not available on DVD or VHS at this writing, "The House I Live In" was seen on tv following a showing of Sinatra's debut film, "Higher and Higher." Although Frank's voice is lighter here than generally remembered, it still exhibits his trademark smooth lines, firm breath control and clear diction. His acting forecasts his later work, and the film makes its admirable points within a short time frame.