“Listen to them, children of the night; what music they make.” Count Dracula
Dracula is the immortal 1897 Gothic horror novel by Irish author Bram Stoker. It introduced the famous character Count Dracula and established many conventions of subsequent vampire fantasy.
The first edition cover of Dracula
Of all the film adaptations of the classic novel, the 1931 Dracula directed by Tod Browning and starring Bela Lugosi is most synonymous with Stoker’s legendary character, Count Dracula of Transylvania.
The film was produced by Universal and is based on the 1924 stage play Dracula by Hamilton Deane and John L. Balderston, which in turn is loosely based on the novel Dracula by Bram Stoker. The 1924 stage play was substantially revised in 1927 and was the first authorized adaptation of Bram Stoker‘s novel Dracula, and has influenced many subsequent adaptations.
The 1927 Broadway production starred Bela Lugosi in his first major English-speaking role, which he reprised in the 1931 film adaptation of the play. A 1977 Broadway revival designed by Edward Gorey, starring Frank Langella, won the Tony Award for Best Revival.
Bram Stoker’s novel had already been filmed without permission as Nosferatu in 1922 by German expressionist filmmaker F. W. Murnau. Bram Stoker’s widow sued for plagiarism and copyright infringement, and the courts decided in her favor, essentially ordering that all prints of Nosferatu be destroyed.
Nosferatu
Enthusiastic young Hollywood producer Carl Laemmle, Jr. also saw the box office potential in Stoker’s gothic chiller, and he legally acquired the novel’s film rights. Initially, he wanted Dracula to be a spectacle on a scale with the lavish silent films The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). (Wikipedia)
The decision on casting the title role proved problematic. Initially, Laemmle was not at all interested in Lugosi, in spite of good reviews for his stage portrayal. Laemmle instead considered other actors, including Paul Muni, Chester Morris, and Ian Keith.
Today, Dracula is widely regarded as a classic of the era and of its genre. In 2000, it was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.
To many film lovers and critics alike, Lugosi’s portrayal is widely regarded as the definitive Dracula. Lugosi had a powerful presence and authority on-screen. The slow, deliberate pacing of his performance (“I bid you… welcome!” and “I never drink… wine!”) gave his Dracula the air of a walking, talking corpse, which terrified 1931 movie audiences.
He was just as compelling with no dialogue, and the many close-ups of Lugosi’s face in icy silence jumped off the screen. With this mesmerizing performance, Dracula became Bela Lugosi’s signature role, his Dracula a cultural icon, and he himself a legend in the classic Universal Horror film series.
Stoker’s visit to the English coastal town of Whitby in 1890 is said to be part of the inspiration for Dracula. He began writing novels while a manager for Henry Irving, as well as, director of London’s Lyceum Theatre, beginning with The Snake’s Pass in 1890 and Dracula in 1897.
During this period, Stoker was part of the literary staff of the The Daily Telegraph in London, and he wrote other fiction, including the horror novels The Lady of the Shroud (1909) and The Lair of the White Worm (1911). (Wikipedia)
Stoker was bedridden with an unknown illness until he started school at the age of seven when he made a complete recovery. Of this time, Stoker wrote, “I was naturally thoughtful, and the leisure of long illness gave the opportunity for many thoughts which were fruitful according to their kind in later years.”
Before writing Dracula, Stoker met Ármin Vámbéry, a Hungarian writer, and traveler. Dracula likely emerged from Vámbéry’s dark stories of the Carpathian mountains. Stoker then spent several years researching European folklore and mythological stories of vampires.
Dracula is an epistolary novel, written as a collection of realistic but completely fictional diary entries, telegrams, letters, ship’s logs, and newspaper clippings, all of which added a level of detailed realism to the story, a skill which Stoker had developed as a newspaper writer.
At the time of its publication, Dracula was considered a “straightforward horror novel” based on imaginary creations of supernatural life.”It gave form to a universal fantasy . . and became a part of popular culture.” (Wikipedia)
After suffering a number of strokes, Stoker died at No. 26 St George’s Square, London on 20 April 1912. He was cremated, and his ashes were placed in a display urn at Golders Green Crematorium in north London.
This iconic film about a New York mafia family’s rise to power in the years following World War II stars Marlon Brando as the family’s patriarch, Don Corleone, and features career-making performances by Al Pacino, James Caan, and Robert Duvall. Directed by Francis Ford Coppola, it’s based on Mario Puzo‘s best-selling novel. This searing and brilliant film garnered seven Academy Award nominations and won three, including Best Picture of 1972.
I’ve stated for years that if you want a blueprint for the rules of life, a screening of “The Godfather” is mandatory. In an interview about the making of the film, Coppola revealed that his idea was to approach the Corleone family like a king and his sons. I believe focusing on the family dynamics versus “the mob” gave more depth and layers to the characters and the audience’s involvement in the film.
Cinematographer Gordon Willis initially turned down the opportunity to film The Godfather because the production seemed “chaotic” to him. After Willis later accepted the offer, he and Coppola agreed to not use any modern filming devices, helicopters, or zoom lenses. Willis and Coppola chose to use a “tableau format” of filming to make it seem if it was viewed like a painting. He made use of shadows and low light levels throughout the film to showcase psychological developments.
Willis and Coppola agreed to interplay light and dark scenes throughout the film. Willis underexposed the film in order to create a “yellow tone.” The scenes in Sicily were shot to display the countryside and “display a more romantic land,” giving these scenes a “softer, more romantic” feel than the New York scenes. (Wikipedia)
Although many films about gangsters preceded “The Godfather”, Coppola’s heavy infusion of Italian culture and stereotypes, and his portrayal of mobsters as characters of considerable psychological depth and complexity was unprecedented.
Coppola took it further with The Godfather Part II, and Part III. The success of those films, critically, artistically and financially, opened the doors for numerous other depictions of Italian Americans as mobsters, including films such as Martin Scorsese‘s Goodfellas and TV series such as David Chase‘s The Sopranos.
Ray Liotta, Robert De Niro, Joe Pesci
“Goodfellas” (1990)
“The Godfather” is widely regarded as one of the greatest films in world cinema and one of the most influential, especially in the gangster genre. It was selected for preservation in the U.S. National Film Registry of the Library of Congress in 1990, being deemed “culturally, historically, or aesthetically significant” and is ranked the second greatest film in American cinema (behind Citizen Kane) by the American Film Institute. (Wikipedia)
So, whether this would be your first viewing or you’re a lifelong fan, get your tickets here and check out “The Godfather” on the big screen for this special, limited-time performance!
Oscar Devereaux Micheaux was an American author, film director and independent producer of more than 44 films.
Filmmaker, Screenwriter, Journalist (1884–1951)
QUOTES
“Your self-image is so powerful, it unwittingly becomes your destiny.”
—Oscar Micheaux
Oscar Devereaux Micheaux (January 2, 1884 – March 25, 1951) was an African American author, film director and independent producer of more than 44 films. Although the short-lived Micheaux Book & Film Company produced some films, he is regarded as the first major African-American feature filmmaker, the most successful African-American filmmaker of the first half of the 20th century and the most prominent producer of race films. He produced both silent films and sound films when the industry changed to incorporate speaking actors. (Wikipedia)
I studied the “Godfather” of black filmmakers as a film student at the University of Michigan. Micheaux was a contemporary of D.W.Griffith, the director of the controversial 1915 “Birth of a Nation” which in my opinion set the blueprint for race relations in America that we still fight today. Griffith’s film depicted black people as violent and shiftless and a direct threat to whites.
Micheaux’s second silent film was “Within Our Gates“, produced in 1920. Although sometimes considered his response to the film “Birth of a Nation“, Micheaux said that he created it independently as a response to the widespread social instability following World War I.
In 1913, 1,000 copies of Micheaux’s first book, The Conquest: The Story of a Negro Homesteader, were printed anonymously, for unknown reasons. It was dedicated to Booker T. Washington (an American educator, author, orator, and advisor to presidents of the United States.) Based on his experiences as a homesteader and the failure of his first marriage, it was largely autobiographical. Although character names have been changed, the protagonist is named Oscar Devereaux.
In “The Conquest” Micheaux discusses the culture of doers who want to accomplish and those who see themselves as victims of injustice and hopelessness and who do not want to try to succeed but instead like to pretend to be successful while living the city lifestyle in poverty. One of Micheaux’s fundamental beliefs is that hard work and enterprise will make any person rise to respect and prominence no matter his or her race. (Wikipedia)
In 1918, his novel The Conquest (re-titled The Homesteader for the film) attracted the attention of George Johnson, the manager of the Lincoln Motion Picture Company in Los Angeles. After Johnson offered to make The Homesteader into a new feature film, negotiations and paperwork became contentious between Micheaux and him.
Micheaux wanted to be directly involved in the adaptation of his book as a movie, but Johnson resisted and never produced the film. Instead, Micheaux founded the Micheaux Film & Book Company of Sioux City in Chicago; its first project was the production of The Homesteader as a feature film. (Wikipedia)
Micheaux had a major career as a film producer and director: He produced over 40 films, which drew audiences throughout the U.S. as well as internationally. Micheaux contacted wealthy white connections from his earlier career as a porter and sold stock for his company at $75 to $100 a share.
Premiering in Chicago, Micheaux received high praise from film critics. One article credited Micheaux with “a historic breakthrough, a credible, dignified achievement”. Some members of the Chicago clergy criticized the film as libelous. The Homesteader became known as Micheaux’s breakout film; it helped him become widely known as a writer and a filmmaker. (Wikipedia)
Micheaux’s films were coined during a time of great change in the African-American community. His films featured contemporary black life. He dealt with racial relationships between blacks and whites, and the challenges for blacks when trying to achieve success in the larger society.
Micheaux films were used to oppose and discuss the racial injustice that African Americans received. Topics such as lynching, job discrimination, rape, mob violence, and economic exploitation were depicted in his films. These films also reflect his ideologies and autobiographical experiences. The journalist Richard Gehr said, “Micheaux appears to have only one story to tell, his own, and he tells it repeatedly”. (Wikipedia)
Micheaux sought to create films that would counter white portrayals of African Americans, which tended to emphasize inferior stereotypes. He created complex characters of different classes. His films questioned the value system of both African American and white communities as well as caused problems with the press and state censors. (Wikipedia)
His gravestone reads:
“A man ahead of his time”
Oscar Micheaux died on March 25, 1951, in Charlotte, North Carolina, of heart failure. He is buried in Great Bend Cemetery in Great Bend, Kansas, the home of his youth.
Let’s start with our substitute teacher, Mr. Schneebly – what kid hasn’t wished for a sub like him? No grades, being part of a kick butt rock band, defying parents, breaking the rules. Good, right?
Jack Black’s character Dewey Finn is the forever loser and quintessential wanna be rock star, but when he steals his roommate’s identity as a substitute teacher, (Mr, Schneebly) he discovers he has a class of very musically talented 5th-grade students. So, Dewey decides to turn his class into a rock band to potentially win the Battle of the Bands and $20,000. I won’t spoil whether the kids win or don’t win the battle but as a result of the contest they gain self-confidence and continue to play rock in an after school program coached by Dewey. Long live Rock!
This film totally tapped into my inner rocker!
“The Commitments” (1991)
What happens when a group of white working class Dubliners forms a soul band? A rousing film with some great music inspired by legendary artists, Otis Redding, Aretha Franklin and Wilson Pickett.
The band nails the soul of the greats by immersing themselves 24/7 in classic soul standards:
“In the Midnight Hour” – Wilson Pickett
“Try a Little Tenderness” – Otis Redding
“I Never Loved a Man” – Aretha Franklin
Whether on buses, hanging up laundry or in music store windows, they were feeling the soul. In the words of Félim Gormley (Dean Fay- Saxophone), “I’m black and I’m proud!”
I’m so glad the movie was authentic with the cast singing on the soundtrack. (The actors were cast for their musical abilities.) Lead singer (Andrew Strong “Deco”) was nuts but the standout talent of the band.
The Commitments was voted best Irish film of all time in a 2005 poll sponsored by Jameson Irish Whiskey and launched a generation of Irish musicians and actors.
“This is Spinal Tap” (1984)
OMG, the funniest, dead on satire of a rock metal band ever!
Classic in every sense of the word, Director/Writer Rob Reiner’s masterpiece was also written and scored by the stars:
Rob Reiner – (Marty D. Bergi) – Mokumentarian
Spinal Tap
Christopher Guest – (Nigel Tufnel)
Michael McKean- (David St. Hubbins)
Harry Shearer – (Derek Smalls)
This mockumentary feels so real that some moviegoers thought they were an actual group!
The “Stonehenge” number during the Smell the Glove tour is priceless. Due to a mix up with size dimensions, the Stonehenge replica for their epic song is 18 inches instead of 18 feet tall. The little people performers in the number were taller. And Derek Smalls getting stuck in the stage prop egg is hilarious!
In 2002, This Is Spinal Tap was deemed “culturally, historically, or aesthetically significant” by the Library of Congress and was selected for preservation by the United States National Film Registry.
These are 3 of my favorite Rock Movies – Let me know yours in the comments!
(Prince and Judith Hill.CreditPhotographs by Karrah Kobus/NPG Records, via Getty Images)
Mourning the 1 year passing of music legend Prince, I was amazed to learn about his relationship with the powerhouse singer-songwriter Judith Hill as her confidant and musical collaborator.
Ms. Hill was a contestant on the 2013 season of “The Voice” (the TV singing competition) and later that same year appeared in the Academy Award-winning documentary about backup singers, “20 Feet From Stardom” earning a Grammy for her performance.
(“I was with Prince the last two years of my life,” Judith Hill said. “Now he’s gone, and I realize I was leaning on him a lot,” she said. “And that’s what’s scary. I’m on my own.”Credit: Elizabeth Weinberg for The New York Times)
I cheered for Ms. Hill on “The Voice” and was shocked when she didn’t make the cut. Her voice is phenomenal and once before she had been so close to blowing up as a recording star when she was paired as a featured vocalist with Michael Jackson on his ill-fated tour “This is It”. On “The Voice” I thought, maybe this time she’ll get her shot.
And now, with the passing of Prince, Judith would once again be denied the major exposure that could have skyrocketed her to the top of the musical ladder instead of her forever feeling – “20 feet from stardom”.
Judith Hill, Michael Jackson
Here’s a look at the Oscar-winning documentary about the incredible backup singers and the travesty of how their careers have always been “20 Feet From Stardom”.
2014 Academy Award Winner for Best Documentary Feature, “20 Feet From Stardom” is directed by Morgan Neville and inspired by producer Gil Friesen’s quest to reveal the untold stories of the phenomenal voices behind some of the greatest artists in American music.
The Ladies Speak: Lisa Fischer, Darlene Love, Judith Hill
Merry Clayton performed that killer background vocal on The Rolling Stones’ classic “Gimme Shelter”
Millions know their voices, but no one knows their names. I was thrilled when this film was released to showcase these gifted women that for whatever reason remain in the shadows. It’s a sad fact but, nevertheless, they stayed in the game and they are legends!
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