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- Published by: BWW CT https://twitter.com/bww_ct - Resume BroadwayWorld Connecticut! Rating - 28509 Vote
1 Hour 54 m
writed by - Alan Jay Lerner, Alan Jay Lerner
rating - 7,3 of 10
brief - Jerry Mulligan is an American ex-GI who stays in post-war Paris to become a painter, and falls for the gamine charms of Lise Bouvier. However, his paintings come to the attention of Milo Roberts, a rich American heiress, who is interested in more than just art
Um clássico lindo.
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Insanely beautiful! brass triplets.
3:38 - Foot Fetish Alert.
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My music class is playing this song in a compilation with Rhapsody in Blue and Strike Up the Band. It sounds amazing.
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1) 00:19 Das Meer und Sinbads Schiff 2) 08:45 Die Geschichte des Prinzen Kalender 3) 20:52 Der junge Prinz und die junge Prinzessin 4) 30:30 Die Fest in Baghdad - Das Meer - Das Schiff zerschellt - Finale.
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Sinfonía en París I: Tres mujeres y un amor
by
Carmen Torrico
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Sinfonía en París I Quotes
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“Ninguno habló. No eran necesarias las palabras. Sus ojos se bastaban para repetir calladas frases repletas de ternura, amor y deseo. Fue”
―
Carmen Torrico,
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“¡El amor es algo que se regala, no puede exigirse! ”
“Los consejos son algo gratuito que regalamos con generosidad, a veces sin pensar si son deseados o no. ―Le”
“la memoria era incapaz de recordar un solo día de su vida en el que se sintiera invadido por una completa y sana felicidad. ”
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“Su vida como hombre era una completa ruina pero, como músico, lograba elevarse a espacios desconocidos para la mayoría de los mortales. Solo”
“Por unos instantes, envidió los placeres y sensaciones de que aquella mujer parecía disfrutar. Apenas”
“Cuando se está en los puestos superiores las exigencias se multiplican de forma desproporcionada. Cada”
“La música no está escrita en una partitura, sino en el corazón. Y”
“Al igual que en el mito de Fausto vendí mi alma, no por la juventud ni el amor, sino por la música. ”
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I met them last night they are so talented him is awesome and very friendly. great show.
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Sounds to me like when the rogue sneaks into the artificer's magic item reserve….
Nikolai Rubinstein: Hey Pytor, you should write a patriotic song to celebrate the Russians defeating Napoleon. Tchaikovsky: Yeah dude how about I start out with some strings? Rubinstein: Good idea, I like it. Tchaikovsky: And then I throw a brass band in. Rubinstein: If you say so. Tchaikovsky: And then a tambourine. and a gong. Rubinstein: Sir, I wouldn't really advise that. Tchaikovsky: How about some church bells lol Rubinstein: Sir I really don't thi- Tchaikovsky: GIVE ME SIXTEEN CANNONS MOTHERFUCKER THIS BEAT GONNA DROP HARD.
ਤੁਹਾਡੀ ਭਾਸ਼ਾ ਵਿੱਚ ਨਾ ਆਡੀਓ ਅਤੇ ਨਾ ਹੀ ਉਪਸਿਰਲੇਖ ਉਪਲਬਧ ਹਨ। ਆਡੀਓ ਸਪੇਨੀ ਵਿੱਚ ਉਪਲਬਧ ਹੈ। Jerry, un pintor en Paris se dedica a cantar y a bailar con su mejor amigo, mientras el amor se complica ya que se enamora de una mujer que ya esta comprometida. ਹੋਰ ਪੜ੍ਹੋ ਕਾਸਟ ਅਤੇ ਕ੍ਰੈਡਿਟਸ ਲੋਡ ਕੀਤਾ ਜਾ ਰਿਹਾ ਹੈ... ਵਧੀਕ ਜਾਣਕਾਰੀ Rotten Tomatoes® ਸਕੋਰ ਆਡੀਓ ਭਾਸ਼ਾ ਸਪੇਨੀ (ਸਟੀਰੀਓ) ਪਰਿਵਾਰ ਲਾਇਬ੍ਰੇਰੀ ਲਈ ਯੋਗ ਚੋਣਵੀਆਂ ਭੁਗਤਾਨ ਵਿਧੀਆਂ ਨਾਲ ਖਰੀਦੇ ਜਾਣ 'ਤੇ ਯੋਗ ਹੈ। ਕਿਰਾਏ 'ਤੇ ਲੈਣ ਵੇਲੇ ਯੋਗ ਨਹੀਂ ਹੈ। ਹੋਰ ਜਾਣੋ ਰਨ ਸਮਾਂ 113 ਮਿੰਟ ਅੰਗਰੇਜ਼ੀ ਆਡੀਓ ਅੰਗਰੇਜ਼ੀ ਆਡੀਓ This filmed version of the 1927 George Gershwin Broadway musical Funny Face utilizes the play's original star, Fred Astaire, and several of the original tunes, then goes merrily off on its own. Astaire is cast as as fashion photographer Dick Avery (a character based on Richard Avedon, the film's "visual consultant"), who is sent out by his female boss Maggie Prescott (Kay Thompson) to find a "new face". It doesn't take Dick long to discover Jo (Audrey Hepburn, who does her own singing), an owlish Greenwich Village bookstore clerk. Acting as Pygmalion to Jo's Galatea, Dick whisks the wide-eyed girl off to Paris and transforms her into the fashion world's hottest model. Along the way, he falls in love with Jo, and works overtime to wean her away from such phony-baloney intellectuals as Professor Emile Flostre (Michel Auclair). The Gershwin tunes include the title song, "S'wonderful", "How Long Has This Been Going On" and "He Loves and She Loves", among the newer numbers is Kay Thompson's energetic opener "Think Pink". For years available only in washed-out, flat prints, Funny Face was eventually restored to its full Technicolor and VistaVision glory.
Everyone's here from films and shows and olympic performances meanwhile i came from an exo fanfic. 😔 this is tragic.
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I have an original LP of this recording and it is the one that introduced me to Gershwin's works. I heard other versions from other orchestras and conductors but none compare to this one.
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4:19 just shows how much balance, strength, and pure skill Gene Kelly had.
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I only listened the opening but now I realized that the entire piece is extremely emotional and has beautiful tunes that even made me a master piece... I am so thanked to listened it entirely.
Screw that obnoxiously pretentious Blah Blah Bland. THIS is a good musical and a bloody good movie.
I first discovered Classical music when as an adolescent my family went to see the premiere of 2001 A Space Odyssey in 1968. I was so moved by The Blue Danube I started exploring Classical. I discovered Vivaldi's Four Seasons. These three pieces brought me through the hard parts of growing up Brought calmness to my ADHD addled mind. I had been to the theater in 1963 to see Fantasia but didn't appreciate it until after seeing 2001. Today I have about 100 CDs of classical but when I feel the need to comfort the inner child I always seem to gravitate to these pieces. To this day more than 50 years later I still get a bit weepy as I listen and forget all the negativeness of life in the 21st. century.
The dazzling seventeen-minute dance sequence of George Gershwin's 1928 orchestral piece, An American in Paris" is an indisputable masterwork. Choreographed with precision and unparalleled flair by Gene Kelly, the vibrant combination of color, music and dance is still eye-poppingly startling as the piece is broken down into scenes inspired by selected master artists - Dufy in the opening Place de la Concorde piece, Manet in the flower market, Utrillo in a Paris street, Rousseau at the fair, Vincent Van Gogh in the spectacular Place de l'Opera piece, and Toulouse-Lautrec for the Moulin Rouge where Kelly wears his famous white bodysuit. The 97 minutes that precede this finale are not as exciting, not by a long shot, but there are certain charms to be had in viewing the entire 1951 Oscar-winning musical.
Director Vincente Minnelli and screenwriter Alan Jay Lerner have fashioned a surprisingly sophisticated if rather slight romantic story focused on Jerry Mulligan, a former G.I. who has remained in Paris after the end of WWII trying to make a living as a painter. With his braggadocio manner and athletic dancing style, Gene Kelly can be concurrently ingratiating and irritating as a screen personality, but he seems to find his oeuvre as the carefree Jerry. The love-triangle plot is focused on Jerry's involvement with Milo Roberts, a self-proclaimed art patron but a sexual predator when it comes to young artists. On their first date in a crowded Montmartre nightclub, Jerry unapologetically falls for Lise, a young woman who turns out to be the fiancée of Henri, a professional entertainer and friend of Jerry's pal, Adam, an out-of-work concert pianist. Romantic complications ensue until the inevitable ending but not before several classic Gershwin songs are performed.
The best of these is the most imitated - a swooningly romantic song and dance to "Our Love Is Here to Stay" along a faux-Seine River in a blue hazy mist with yellow fog lights. The way Kelly and Leslie Caron circle each other is transcendent as they approach each other tentatively at first and then synchronize beautifully to the music leading to the final clinch. Few films have so elegantly and succinctly shown two people falling in love. "I Got Rhythm" and "S'Wonderful" spotlight Kelly's nimble tap-dancing and agreeable singing, while "Embraceable You" is danced impressively by Caron in a five-scene montage of Henri's all-over-the-map description of Lise to Adam. Designed to show off Caron's dancing versatility, the sequence is similar to the one in "On the Town" where Vera-Ellen showed off her considerable dancing skills when Kelly's sailor character described his multi-faceted vision of Miss Turnstiles.
As Lise, the nineteen year-old Caron (in her first film) dances superbly throughout and handles her role with unformed charm with her acting talent not to bloom for several years. Looking quite glamorous, Nina Foch plays older as the manipulative Milo and manages to be likable enough for us to care about her fate, while Oscar Levant is just his sardonic self as Adam. Performing an elegant "I'll Build a Stairway to Paradise" George Guétary plays Henri so agreeably that you feel bad that he does lose the girl at the end. This is not the best all-around MGM musical, but there is certainly enough movie magic to make this quite worthwhile. The 2000 DVD contains a fairly pristine print but little else in terms of extras.
Why does this musical seem so horribly umderrated 😫😫😫.
Wow amazing video really. 3 <3 <3 thanks for sharing both arts, Mr. Gershwin song and your video. keep posting.
SINFONIA PARA ANA
un film de Ernesto Ardito y Virna Molina
Inspirado en hechos reales. Basado en la novela “Sinfonía para Ana” de Gaby Meik. / Argentina / 2017 / 119’/ Opera Prima/ Ficción / Proyecto ganador del Concurso para Operas Primas organizado por el INCAA (Instituto Nacional de Cine y Artes audiovisuales).
Sinopsis
Ana es una adolescente feliz a comienzos de los años 70′. Junto a Isa, su mejor amiga, viven tiempos de amor y rebeldía en el tradicional Colegio Nacional de Buenos Aires. Cuando conoce a Lito, todo se transforma. Las presiones de sus amigos para que lo abandone y el miedo al debut sexual, la envuelven en un universo de dudas que la llevan a buscar refugio en el misterioso Camilo. Su corazón queda atrapado entre dos pasiones, mientras la dictadura militar oscurece su mundo con la muerte, la soledad y el terror. Con tan solo 15 años Ana debe luchar por conservar su vida sin renunciar a lo que más ama.
Estreno
La película se estrenó comercialmente en Argentina el 19 de Octubre de 2017 en 18 salas del país, fue vista por 30000 espectadores y estuvo 6 meses ininterrumpidos en cartel.
Premios y Festivales
Festival Internacional de Cine de Moscú, Rusia.
Primer Premio de la Crítica Rusa
Festival de Cine de Gramado, Brasil.
Mejor Película, Mejor Fotografía.
Festival de Cine Latino de Toulouse, Francia.
Premio Rail D’oc.
Muestra de Cine Latinoamericano de Lleida, Catalunya.
Premio Radio Exterior de España.
Festival Internacional de Cine Politico de Argentina.
Premio Especial del Jurado.
Festival Int. de Cine para Adolescentes de San Martín de los Andes.
Primer Premio a Mejor Película
Stony Brook Film Festival, USA.
Festival Internacional de Cine de El Cairo,
Sección Festival of Festivals Egipto.
Festival Internacional de Cine de Kerala
Competencia Internacional, India.
Festival Internacional de Cine de Durban
Selección Oficial, Sudáfrica.
Festival de Cine Latinoamericano de Trieste.
Competencia Oficial, Italia.
Festival de Cine Latinoamericano de Marsella
Selección Oficial, Francia.
Festival de Cine Latinoamericano de San Diego.
Selección Oficial, USA.
Festival de Cine Latinoamericano de Chicago.
Selección Oficial.
Premios Condor de Plata 2018
Nominada a: Mejor guión adaptado, Mejor dirección de arte, Mejor vestuario, Mejor Actriz Revelación, Mejor actriz de Reparto.
Declarada de interés en Derechos Humanos por la Legislatura de la Ciudad de La Plata.
Sobre el film
“Sinfonía para Ana” es la opera prima de ficción de Virna Molina y Ernesto Ardito, dos de los principales referentes del cine documental en Argentina.
El film está basado en la novela homónima de Gaby Meik y está inspirado en hechos reales. Fue la primera vez que el emblemático Colegio Nacional de Buenos Aires abrió sus puertas para filmar su propia historia.
La película está protagonizada por un talentoso grupo de actores adolescentes quienes participaron de un masivo y riguroso casting. La mayoría son alumnos y exalumnnos del Colegio Nacional de Buenos aires, el mismo lugar donde sucedieron lo hechos.
45º Festival de Cinema de Gramado 2017 – 26/08/2017 – Melhor Filme: “Sinfonia Para Ana”, de Virna Molina e Ernesto Ardito. Crédito Diego Vara / Pressphoto
Con gran emoción anunciamos que Sinfonía para Ana ganó los premios a Mejor Película y a Mejor Fotografía en la competencia internacional del Festival de Cine de Gramado, el más importante de Brasil. La fotografía del film estuvo en manos de Fer Molina por eso lo felicitamos con todo el corazón y también a todo el equipo por el premio mayor del festival.
Tenemos la alegría de anunciar que “Sinfonía para Ana”, obtuvo el Premio de la Crítica en el Festival Internacional de Cine de Moscú, donde fue su estreno mundial. Este premio es el máximo reconocimiento que otorga la Asociación de Críticos de Cine de Rusia. A su vez estuvo entre las tres películas más votadas por el público que la ovacionó en la mítica sala Octubre (Oktiabr) para 1300 espectadores.
El Festival de Moscú está considerado por la Federación Internacional de Asociaciones de Productores de Films como uno de los mas prestigiosos del mundo. Algunos cineastas actualmente considerados clásicos recibieron su primer reconocimiento en el festival de Moscú. Entre ellos figuran István Szabó, Krzysztof Kieślowski, Humberto Solás, Kaneto Shindo, Aki Kaurismäki y Kohei Oguri.
Desde hacia 13 años que un film argentino no participaba de la competencia internacional de Moscú.
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This was the first all instrumental track that left me completely speechless. Such beautiful Gene Kelly and Leslie Caron's dancing adds an intimate and romantic factor that no one else could have brought to such a lovely piece of art. One word for this piece? Breathtaking. <3 I'm 16 and I love Gershwin's work.
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Sinfonia Amazônica (1951)
Directed by
Anelio Latini
Run Time - 75 min. |
Countries - Brazil |
MPAA Rating - NR
AllMovie Rating
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Overview
↓
Cast & Crew
Sinfonia Amazonica can be regarded as Brazil's answer to Walt Disney's animated feature Fantasia. The main difference: whereas Disney had a staff of hundreds at his disposal, Sinfonia Amazonica's director Anello Latin Filho did everything himself, even inking and coloring in the animation cels himself. Two Amazon folk tales are illustrated herein, with appropriately lush background music, courtesy of Wagner and Mendelsohn (strange bedfellows indeed! ) The animation resembles the "abbreviated" stuff turned out by Hanna-Barbera in the 1950s and 1960s, with a bare minimum of movement. In fact, given the many times that Filho offers us nothing more than static backgrounds, Sinfonia Amazonica is barely a "movie" at all.
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