![]() Rainbow in the 1941 film noir I Wake Up Screaming.) Happily, my personal aversion to the song Plaisir d’Amour and its use in the film's score (something I might share with the film's Oscar-winning/Oscar-disowning composer Aaron Copland) is the sole complaint I Rendered 19 th century New York, and thrusting me onto some kind of Gilligan’sĪ similar reaction to the now-distracting Time Plaisir d’Amour swells on the soundtrack, wrenching me out of the The Heiress' scrupulously Coming as it did a full 12-years before Elvis serenaded Joan Blackman in Blue Hawaii, it’s not The Heiress’s fault Elvis’s version (never a favorite) is so hotwired into my brain that I fairly wince every ![]() This pop music cross-referencing has always only had the effect of cheapening the originalĬompositions for me. ![]() In which Morris sings The Joys of Love to Catherine Played in the movie (and that’s quite a lot) it evokes for me not Victorian-eraĮver the Method actor, Clift learned to play the piano for this scene The unfortunate result of all this is that every time the melody is The reason being that Theġ784 Jean-Paul-Egide Martini classical composition Plaisir d’Amour ( The Joys of Love)-had its melody borrowed for the popular ballad Can’t Helpįalling in Love in the 1961 film Blue Hawaii. Williams’ cultured English accent unfailingly come to mind whenever I watch The Heiress.
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