Podcasts about Busby Berkeley

GGACP celebrates Christmas 2024 with this ENCORE of a holiday installment (from 2019) featuring the podcast's own winter warlock, Mario Cantone. In this episode, Mario and the boys discuss misleading movie titles, politically correct Christmas carols, the genius of Paul Frees (and Frank Loesser) and the 80th anniversary of “The Wizard of Oz.” Also: Jack Cassidy teams with Jim Backus, Judy Garland locks horns with Busby Berkeley, Ricardo Montalban serenades Esther Williams and Gilbert gets accosted by Snow White. PLUS: Jan-Michael Vincent! Lucille Ball sings! “Christmas on the Ponderosa”! Tony Curtis tells off Danny Kaye! And “Frosty the Snowman” turns 50! Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:24:42 - « No, No, Nanette » de Vincent Youmans - "No, no, Nanette" est une comédie musicale de Vincent Youmans sur des paroles d'Irving Caesar et Otto Harbach, créée en 1925 à Londres et Broadway. On écoute aujourd'hui l'enregistrement de la reprise à succès du spectacle à Broadway en 1971, produite par Busby Berkeley.

Breaking into Showbiz is like breaking into Fort Knox. Breaking out, we're talking Alcatraz. Abigail Paine, born Miriam Rosen, has been in love with Show Business since childhood, perpetually fantasizing herself as the Little Trouper Who Finds Stardom and True Love by the end of the movie. After a hundred shows and a hundred one-night stands, love and fame still elude her, and she'd rather suck a tailpipe than face another audition. Complicating her search for the Busby Berkeley ending is her primitive alter-ego- The Beast. This creature can track, kill, dismember and devour an entire cheesecake; can beat the hell out of smaller muggers on the sidewalks of New York; and can't say no to recreational sex with a famous director on the Third Ring of the New York State Theater while a public tour is in progress. When Abigail finds love at long last, she is faced with an agonizing choice: Showbiz or The Guy

Busby Berkeley and other fun.

A sheet-music salesman's life spirals out of control during the Great Depression, but that doesn't stop him from daydreaming about a better life through song. A film noir plot dressed up as a big, Busby Berkeley-style musical comedy, this remake of a British tv series was a massive box-office bomb, but has become a cult favorite. Starring Steve Martin, Bernadette Peters, Jessica Harper, and Christopher Walken. Written by Dennis Potter. Directed by Herbert Ross.

durée : 01:26:00 - Les Nuits de France Culture - par : Philippe Garbit - En 1992, dans "Les mardis du cinéma", Simone Douek proposait une plongée dans le monde féérique de Busby Berkeley. L'un de ses fervents admirateurs parmi d'autres, Jean-Christophe Averty, analysait le grand art cinématographique de ce monument historique de la comédie musicale... - invités : Patrick Brion Historien du cinéma; Jean-Christophe Averty Cinéaste, critique, collectionneur et producteur radiophonique

durée : 00:58:56 - Severine Danflous Marest et Pierre-Julien Marest programment " 42e rue " - par : Laurent Valière - Séverine Danflous et Pierre-Julien Marest publient une étude de l'œuvre du réalisateur et chorégraphe Busby Berkeley, symbole de gigantisme, formes géométriques, jambes féminines à foison et élégance dans le cinéma musical d'Hollywood dans les années 30. Ils programment 42e rue. - réalisé par : Céline Parfenoff

Comparado con el delicado Richard Whiting, Harry Warren era un caballo de batalla. Las melodías de Warren tenían un ritmo desenfadado que inspiró el agudo oído de Mercer para las frases comunes. Con José Manuel Corrales.

Comparado con el delicado Richard Whiting, Harry Warren era un caballo de batalla. Las melodías de Warren tenían un ritmo desenfadado que inspiró el agudo oído de Mercer para las frases comunes. Con José Manuel Corrales.

"Estaba trabajando en la quinta letra y dijo: 'No puedo hacerlo. Dick, no puedo hacerlo. No puedo más. Estoy harto. Mi padre corrió a una librería, le compró un diccionario Webster, lo metió en el buzón y le dijo: "¡Adelante!". Margaret Whiting. Con José Manuel Corrales.

En mans de qualsevol altre, fer un disc triple de 69 can

En mans de qualsevol altre, fer un disc triple de 69 can

Dans ce nouvel épisode la "Bobine Team" (Lou Bobin, Marcelle Ratafia et Julien Guimon) a le plaisir de recevoir Pierre-Julien Marest, co-auteur avec Séverine Danflous du livre Busby Berkeley, l'homme qui fixait des vertiges aux éditions Marest.Ensemble, ils évoquent la carrière de Ruby Keeler, l'incontournable chorus girl de 42nd Street mais sont aussi évoquées Ginger Rogers, Joan Blondell et même Ophélie Winter !Crédits des extraits :02'32 I Only Have Eyes For You tiré du film Dames réalisé par Ray Enright et Busby Berkeley,1934.17'00 42nd Street chanté par Ruby Keeler, tiré du film 42nd Street de Lloyd Bacon,193329'51 Shanghai Lil chanté par Ruby Keeler et James Cagney tiré du film Footlight Parade, réalisé par Lloyd Bacon et Busby Berkeley, 193341'29 Remember My Forgotten Man chanté par Etta Moten, tiré du film Gold Diggers of 1933, réalisé par Mervyn LeRoy, 1933.Si vous aimez ce podcast, parlez en autour de vous et likez notre page insta : https://www.instagram.com/lesbobines.podcast/Et surtout abonnez vous sur votre plateforme favorite!Bonne écoute ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Au sommaire de cette spéciale sorties bouquins : Évocation de DOA Rétablir le chaos d'Elise Lépine (Playlist Society - plus d'infos ici) ; Rencontre avec l'historien William Blanc au sujet de plusieurs ouvrages de William Morris parus chez Libertalia, à savoir, la nouvelle traduction des Nouvelles de Nulle part & La défense de Guenièvre (plus d'infos ici) ; Une rencontre avec Séverine Danflous et Pierre-Julien Marest au sujet de Busby Berkeley, l'homme qui fixait des vertiges paru chez Marest éditeur (plus d'infos ici). Bonne écoute à toutes et tous !

Dans les années 30, Broadway et Hollywood se tiraient la bourre pour proposer les comédies musicales les plus endiablées. Un homme fit basculer la donne du côté du cinéma : Busby Berkeley. Les numéros créés par ce chorégraphe ont transformé à jamais le registre, Ses ballets, créations mathématiques combinant prouesses techniques les plus folles et abstractions poétiques ayant durablement imprégné les arts visuels. Des Frères Coën dans The big Lebowski au clip d'"Around the world" par Michel Gondry ou ceux de Beyoncé, de l'ouverture d'Indiana Jones et le temple maudit aux pubs Evian, son empreinte est restée partout, mais que savait-on de lui ? Si Berkeley filmait ses numéros selon un point de vue zénithal, Pierre-Julien Marest et Séverine Danflous posent, avec L'homme qui fixait les vertiges, un regard en symétrie pour synchroniser les parcours, tout aussi démesurés, d'un créateur et d'une industrie. Divisé en deux parties, ce livre reprend à son compte un art de la géométrie cosmique : aux tableaux mouvants, assemblages de corps composés par Berkley à l'écran, se superpose sur les pages l'enchevêtrement des complexités d'un homme et d'un âge d'or hollywoodien. Le récit de L'homme qui fixait les vertiges se faisant lui aussi kaléïdoscopique par ses extensions – de minibiographies de danseuses en chroniques des enjeux de pouvoir, chassés-croisés avec la censure, rapport érotomane à la féminité où connexion avec les années Pop'art à venir. Soit près de 500 pages prodigieusement acrobates, balancier entre apesanteur de la folie et rigueur rythmique de métronome ; L'homme qui fixait les vertiges reprenant les enseignements de la caméra de Berkeley qui se faufilait partout pour mieux être en quête de hauteur, se poser en surplomb pour mieux reformuler le monde. L'homme qui fixait les vertiges (Editions Marest)

Britnee, James, Brandon, and Hanna discuss four cult classics directed by madman provocateur Ken Russell, starting with his Busby Berkeley-style backstage musical The Boy Friend (1971) https://swampflix.com/ 00:00 Welcome 01:16 Krewe Divine 03:13 Coonskin (1975) 11:48 Possum (2018) 14:35 The Parallax View (1974) 19:45 Schultze Gets the Blues (2003) 24:10 Queenpins (2011) 27:14 Lenny Cooke (2013) 33:20 The Butterfly Effect (2004) 40:03 Fish & Cat (2013) 43:40 Joe's Apartment (1996) 47:07 The Boy Friend (1971) 1:05:13 Lisztomania (1975) 1:19:43 Altered States (1980) 1:36:00 Crimes of Passion (1984)

Happy New Year from Front Row Classics! We're kicking off the new year in style with something fun and frothy. Our friend Emmett Stanton joins us to celebrate the work of choreographer/director, Busby Berkeley. Brandon and Emmett are taking a look at three films with the Berkeley touch. All three films were, miraculously, released in 1933. 42nd Street, Golddiggers of 1933 and Footlight Parade remain as fresh and fun as they did 90 years ago. 

We’re In the Money. Happy New Year from Front Row Classics! We’re kicking off the new year in style with something fun and frothy. Our friend Emmett Stanton joins us to celebrate the work of choreographer/director, Busby Berkeley. Brandon and Emmett are taking a look at three films with the Berkeley touch. All three films … Continue reading Ep. 191- Ringing in 2024 with Busby Berkeley →

Elric, Brian and Phil dig into the January New Beverly Calendar with a sensational slate of films, including bringing some of our most requested crowd-pleasers back by popular demand, also celebrating the classic collaborations of Bette Davis and director William Wyler, and the comedies of superstar Dolly Parton with filmmaker Colin Higgins, plus dazzling Busby Berkeley musical spectaculars, vibrant I.B. Technicolor favorites, a tribute to Jeff Burr, a 5-film marathon of the complete Twilight Saga, and much, much more! Check out all things New Beverly here: https://thenewbev.com/ If You Enjoy the show, You can help support us at Pure Cinema by going to: https://www.patreon.com/purecinemapod

The holiday season is in full swing and boutique windows are glittering on Rodeo Drive. So who better to talk to right now than the famed window dresser, Simon Doonan!When he was creative director at Barney's, Doonan never missed an opportunity for maximal effect with storefront displays that transformed fashion retail into spectacle. Now he is a writer and eminence on all things style-related – and he has released a new book about design at full volume.Maximalism: Bold, Bedazzled, Gold, and Tasseled Interiors, features lavish spaces around the world: from opulent Old World interiors to a Bel Air bedroom with no surface untouched, by Kelly Wearstler, the candy colored Trixie Motel in Palm Springs by Dani Dazey, and Doonan's own bedazzling New York apartment, designed by his husband Jonathan Adler.Guest host Frances Anderton talks with Doonan on the season-closer of Rodeo Drive - The Podcast about why you can never layer on too much, and how Maximalism is right at home in Los Angeles, dating “from Busby Berkeley to Tiny Naylor's coffee shop,” and on to today's spectacular concerts by Taylor Swift, Beyoncé and Harry Styles. “We live in such a visual world that minimal decor doesn't mean anything online or on your phone or on TikTok” says Doonan. “Everything has to be maximal, and LA is at the center of the culture in so many ways.”Doonan recalls an encounter with the larger-than-life Tony Duquette at his home Dawnridge, in Beverly Hills. Duquette, a prolific designer whose resume includes creating costumes and sets for Fred Astaire musicals, and making jewelry for Tom Ford in his eighties, filled his home and garden with antiques, chinoiserie, sunburst sculptures, gold-leafing, tapestries and cleverly upcycled trash. It was, says Doonan, an “unhinged visual extravaganza.”Doonan peppers the conversation with amusing insights. When asked if maximalism, or “maxi,” can ever become too messy, he says he will never judge, having fond memories of a childhood vacation at the blue collar Butlins holiday camp in the UK, which was “drenched in the fabulosity of maximalism.” He adds, “If somebody is happy, and their apartment looks like a good reflection of them, you do you, boo.” As for the ultra-rich who prefer battleship gray T-shirts over lavish displays of affluence, “one of the most hilarious things is when somebody becomes so wealthy that the only way they can find pleasure is to build a concrete bunker on a Swedish Island, and go and hide in it,” says Doonan.Finally, to those who believe minimalism is the path to happiness, he concludes: “I just think maximalism is more life affirming and maximalism doesn't need minimalism…Minimalism relies on maximalism to have something to denounce, whereas maximalism is much too big to fail.”Season 4 of Rodeo Drive – The Podcast is presented by the Rodeo Drive Committee with the support of The Hayman Family, Two Rodeo Drive, Beverly Wilshire, A Four Seasons Hotel, and the Beverly Hills Conference & Visitors Bureau.Season 4 Credits:Executive Producer and Host: Lyn WinterOn behalf of the Rodeo Drive Committee: Kathy GohariScriptwriter, Editorial Advisor and Guest Host: Frances AndertonEditor and Videographer: Hans FjellestadTheme music by Brian BanksProduction Assistant: Isabelle AlfonsoVisit the website: https://rodeodrive-bh.com/podcast/Join us on Instagram @rodeodrive Hosted on Acast. See acast.com/privacy for more information.

1933 was a year full of big and wild movies! Popeye! Marx Bros! Busby Berkeley musicals! Throuple rom-coms! Psychic supervillains! An invisible man and KING KONG! Pre-code Hollywood is putting out some of the most daring films made so far, and we're gonna talk about 'em! Documentary explaining pinscreen animation: https://www.youtube.com/watch?v=vQ3DSFv4vAg&t=608s You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter, and other social media crap here: http://lnktr.ee/1w1y And you can watch and form your own opinions from our 1933 Films Discussed playlist right here! One Week, One Reel Popeye the Sailor Night on the Bald Mountain Our Feature Presentation Duck Soup The Gold Diggers of 1933 Design for Living The Testament of Dr. Mabuse The Invisible Man King Kong See you next year!  

Actress CAROLE LANDIS was a rising star in the 1940s, but her bright light was short-lived. She came from a troubled background and learned early that her looks and sex appeal were valuable commodities that could help her dreams of fame come true. She scratched and clawed her way to Hollywood stardom only to find the dream was hollow. Her quest for love led her to all the wrong men. Her ill-fated love affair with the very-married star REX HARRISON drove her to her untimely death at age 29. Ruled a suicide at the time, years later, Landis' family thinks otherwise. Today, she serves as a cautionary tale about the dark side of the Hollywood dream. SHOW NOTES:  Sources: Carole Landis: A Tragic Life In Hollywood (2005), by E.J. Fleming; Carole Landis: A Most Beautiful Girl (2008), by Eric Gans; Buzz: The Life and Art of Busby Berkeley (2011), by Jeffrey Spivak; Fatal Charm: The Life Of Rex Harrison (1993), by Alexander Walker; Change Lobsters and Dance (1976) by Lilli Palmer; Lovely Me: The Life of Jacqueline Susann (1996), by Barbara Seaman; Morbid Curiosity: The Disturbing Demises of the Famous and Infamous (2009), by Alan W. Petrucelli; “Carole Landis Does Not Want to Be The Ping Girl,” June 17, 1940, Life magazine; “Meet The New Carole Landis,” November 1943, Silver Screen Magazine, by Gladys Hunt; “Harrison Tells Story of Long Friendship With Actress,” July 7, 1948, L.A. Examiner; “Schmidlapp Shocked at Wife's Death,” July 6, 1948, L.A. Examiner; “Mystery Cloaks Last Hours of Carole Landis,” July 7, 1948, Los Angeles Times; “Scores Attend Funeral of Carole Landis,” July 11, 1948, Oakland Tribune, by Aline Mosby; “Carole Landis,” November 1973, Film Fan Monthly, by Kirk Crivello; “Was Carole Landis Murdered?”, July 8, 2011, www.CaroleLandisOfficial.com, by Tammy Powell; “The Ping Girl: The Story of Carole Landis,” August 21, 2018, Vintage Leisure; “The Astonishing Life and Tragic Death of Carole Landis,” December 3, 2022, Cinema Scholars, by Ben McVay; www.imdb.com; www.glamourgirlsofthesilverscreen.com --------------------------------- http://www.airwavemedia.com; Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josh, Alison and Brady can't resist Gold Diggers of 1933 - the famous musical directed by Mervyn LeRoy and choreographed by Busby Berkeley.Plus!Practical Magic, Gosford Park, Come and See, halloween prep, Depression era role play, the SAG-AFTRA strike and making a motorized vehicle with your bare hands!Send submissions to our Child Throwing and Man on Fire lists!Leave us a voicemail! We'll play it on the show. Check out the Solid Six Store!Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

Hi All, Mark here. I loved the look of agriculture long before I ever had a farm. Yesterday I was struck by the geometric artistry of long rows of corn, lined up like so many soldiers in formation, undulating over a hill nearby. It recalled to my mind other images filed away in my album of landscape "greatest hits": potato fields I would bike past some thirty five years ago, all in white or purple bloom, gently sloping toward the ocean on the East End of Long Island; endless rows of perfect sunflowers along the roads of Thrace, injecting a bright vital energy into an otherwise dull flat landscape. These scenes are painted on a wide canvas, planted by machine, and using plants that have been developed to replicate each other as exactly as possible. I don't know whether pesticides, herbicides or insecticides are used to keep the spaces between the planted rows weed-free and bare. Nonetheless, the plants that compose the tableau are magnificent living things and the visual effect of their uniform arrangement appeals to me in much the same way that a Busby Berkeley production number does. From the chaos of living organisms, a sense of order and harmony achieved. The closest my farm comes to the tableaux I find so appealing is the pasture. The pasture is not comprised of just one type of plant. A variety of grasses, grains, clovers, and legumes all mix chaotically. They are, however, chewed down to the visual uniformity of a carpet by the sheep and cows that graze there. It's the same sort of order we achieve in the yard by mowing the grass. The view of pasture with the woods behind looks planned, ordered, and beautiful. This is so even though the margin between pasture and woodland is shifting, contested territory and the woodland itself is also a chaotic mix of whatever can opportunistically seed itself and enter into a sort of jostling coexistence, or even symbiosis, with the trees, bushes and undergrowth already there. From a distance, even the chaos of the woodland fades into a pleasing uniformity. It's a kind of visual order I would love to see everywhere, but which I've only partially achieved in the areas like the vegetable garden where the results are reliant on my personal efforts. You may remember that one of my major goals for this season was to reconfigure the vegetable garden according to a more Cartesian, rational plan that Eric and I developed together. The plan involved new boundaries, new fencing to keep out groundhogs and rabbits, and replacing most of the existing circular planting beds with new rectangular beds. It required digging up a whole lot of sod and removing enormous stands of mugwort and other weeds I had allowed to invade in fallow areas in the past couple of years. It was a far more ambitious undertaking than I had anticipated. By some measures, we've made great strides. The fencing has been almost entirely finished and for the past several weeks has succeeded in keeping out groundhogs and all but one pesky rabbit. Plants like Swiss chard, broccoli and parsley that didn't survive the critters' gnawing last year have been doing well this year. Of the 24 planting beds we planned for the main garden, 18 have been created and planted. Where about 20 tomato plants struggled last year in the tomato patch, this year there are over 75, and half a dozen tomatillos as well. The little orange sungold tomatoes are already coming in regularly, and I harvested the first ripe Black Krim last week. My summer counteroffensive against the mugwort, however, bears some resemblance to the Ukrainian counteroffensive in the Donbas. I am making some discernible progress and will ultimately emerge victorious, but the weed is entrenched. Mugwort has been eliminated from more than 75% of the tomato patch and the north end of the vegetable garden proper, but in the main garden the southwest corner, and the east side between the pumpkins and the zucchini are all still in enemy hands. Even from a distance, aggressive patches of mugwort stand as a rebuke to the landscaped look I so desperately wanted to achieve this year.Eric thinks my commitment to doing it all by hand is what stands between me and achieving my garden goals. He is right. I have no good response for this. I apparently crave the Sisyphian challenge, and must grasp at a small measure of vindication by appreciating each tiny patch of order I create. And eating the results. Last Sunday, along with the first Black Krim tomato, I brought in the first impossibly shiny yellow Golden Rod zucchinis, and the first cucumbers (both standard Marketmore slicing cucumber and suhyo long, a Chinese variety with a bumpy skin and a curvy growth habit). We are harvesting blackberries in great profusion. In gratitude to macho Matt, who installed a new mailbox and fixed a gate affected by the recent storms during a recent visit, I was able to make the kind of vegetarian meal he prefers largely from the garden: Swiss chard leaves stuffed with a rice mixture that included our own turnips and herbs, braised chard stems, a Turkish salad of chopped tomato, suhyo cucumber and onion, and cacik, the cucumber, yoghurt and mint dish. It's not yet the summer harvest of my dreams, but it's by a large margin better than last year. I've been plagued by dreams this week of actions uncompleted -- last night it was trying unsuccessfully to reach a hardware store before it closed, the night before it was having my plate cleared before I could finish eating a poppy seed muffin. I can't help but think these are in part displaced fears about whether I will ever close the gap between my ambitions and actualization in the garden. But, I tell myself, the season is not over. There are six more beds I can dig, fall vegetables like collard greens, daikon radish and spinach to plant. And by next year, I tell myself, we will surely have the vegetable garden we've been dreaming of.

In the tenth episode of Season 9 (Keep It Musical!) Kyle is joined by editor Kristi Shimek and stunt actor Danny. Hernandez to discuss the culmination of Busby Berkeley's visionary talents of surrealistic deviations, optimistic aptitude, and choreographic maximalism and how they were utilized to express unity, collaboration, and hope during World War II in The Gang's All Here (1943).

In the fifth episode of Season 9 (Keep It Musical!) Kyle is joined by editor/script supervisor Katy Baldwin and fellow cinephile Derek Paranay to discuss the underlying gender, class, and political frustrations of The Great Depression contained in the screwball antics and mild commentary of peripheral artists and citizens in Mervyn LeRoy and choreographer Busby Berkeley's Gold Diggers of 1933 (1933).

In this extra-special 20th Century Fox 1943 episode, we stare agog at a couple of dazzling musicals: Stormy Weather, whose all-Black cast is headlined by Bill Robinson and Lena Horne and boasts an embarrassment of geniuses; and Busby Berkeley's The Gang's All Here, a Technicolor psychedelic extravaganza that's the pinnacle of Fox's signature variety-style musical. We try to sketch out some of the complex representational issues attending Stormy Weather, and our reasons for thinking that the movie itself has an awareness of them and is attempting to be progressive and sophisticated in certain ways. Turning to The Gang's All Here, we focus on its exhibition of sometimes jarring self-reflexivity and the way it perfects the typical romantic and comedic storylines of this era of Fox musical. But if all of that sounds too dryly academic, don't be afraid - we want to play!   Time Codes: 0h 00m 45s:      STORMY WEATHER [dir. Andrew L. Stone] 0h 51m 53s:      THE GANG'S ALL HERE [dir. Busby Berkeley]   Studio Film Capsules provided by The Films of 20th Century-Fox by Tony Thomas and Audrey Solomon   Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!         

Join us as we discuss the re-teaming of Judy Garland, Mickey Rooney and director Busby Berkeley in STRIKE UP THE BAND.

durée : 01:26:00 - Les Nuits de France Culture - par : Albane Penaranda - En 1992, dans "Les mardis du cinéma", Simone Douek proposait une plongée dans le monde féérique de Busby Berkeley. L'un de ses fervents admirateurs parmi d'autres, Jean-Christophe Averty, analysait le grand art cinématographique de ce monument historique de la comédie musicale... Est-ce à son expérience d'instructeur militaire, à ses compétences en matière de défilés qui marchaient au pas, que Busby Berkeley devait l'inspiration qui fit la gloire de ses films réglés comme du papier à musique ?  * Gigantesques tableaux vivants en noir sur blanc et blanc sur noir, rosaces de girls filmées en plongées parfaitement verticales, kaléidoscopes de jambes galbées, reflets en abyme multipliés à l'infini ; inventeur de forme génial, jouant de tous les trucages, de toutes les possibilité techniques qu'offrait au début des années 30 un cinéma qui parlait déjà mais était encore au temps de son innocence, Busby Berkeley a écrit à la Warner et à la MGM quelques-unes des pages les plus glorieuses de la comédie musicale américaine.  En 1992, dans "Les mardis du cinéma_"_, Simone Douek proposait une plongée dans le monde féérique de Busby Berkeley. L'un de ses fervents admirateurs, Jean-Christophe Averty, et les meilleurs connaisseurs de son ouvre y analysaient le grand art cinématographique de ce monument historique de la comédie musicale que l'on aurait bien tort de vouloir réduire à ses obsessions géométriques.  Busby Berkeley a des obsessions précises, des obsessions mathématiques, il devait faire des rêves je pense complètement géométriques. Ce sont des constructions mathématiques, ce qui n'est pas toujours le cas de la danse, où on a l'impression qu'il y a parfois un peu d'improvisations. Chez Berkeley pas d'improvisation. Ce sont des numéros tenus comme à la parade comme avec des soldats, il faisait manouvrer ses girls comme des soldates.  Avec Rick Akltman, Alain Masson, Patrick Brion et Jean-Christophe Averty. Production : Simone Douek  Réalisation : Josette Colin Mardis du cinéma - Busby Berkeley, l'homme aux cent images - 1ère diffusion : 20/10/1992 Indexation web : Sandrine England, Documentation sonore de Radio France

Released just three years after the iconic "Raiders of the Lost Ark," this action-packed prequel takes us back to the 1930s, where we find our intrepid archaeologist, Indiana Jones in a web of peril when he becomes entangled with a ruthless cult hell-bent on capturing the mystical Sankara Stones and enslaving an entire village. Joined by reluctant lounge singer Willie Scott and the wise-cracking Short Round, Dr. Jones battles his way through treacherous jungles, dark catacombs, and a heart-stopping mine cart chase that had audiences gripping the edge of their seats! So, grab your fedora, dust off your leather jacket, and prepare for an exotic dinner you will never forget as Tim Williams and guest co-host, Nicholas Pepin from "Pop Culture Roulette" Podcast, discuss "Indiana Jones and the Temple of Doom" from 1984 on this episode of the 80s Flick Flashback. Here are some additional behind-the-scenes trivia we were unable to cover in this episode: One of the biggest mysteries in the Indiana Jones franchise is how the first human sacrifice victim manages to survive after having his heart ripped out of his chest. This is likely due to the magical nature of the stones. The team of Lucas, Huyck, and Katz had been working on the production of Radioland Murders since the early 1970s. The opening music from that script was utilized in Temple of Doom. According to Spielberg, George wanted to begin the movie with a musical number that featured a Busby Berkeley dance routine. In their story meetings, George constantly reminded Steven of his desire to direct musicals, and Steven found the idea intriguing. Sources: Wikipedia, IMDB, Rotten Tomatoes, Box Office Mojo “The Making of the Temple of Doom: Indiana Jones Behind the Scenes” Documentary Send us an email or reach out to us on social media to let us know what you liked, what you loved, what we may have missed, or what 80's movie we should discuss next! You can also support the podcast by becoming a subscription member through "Buy Me A Coffee".  Click on the following link for more details and other great extensions of the podcast https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviviews80sff/message

Vampiresas 1933 (Gold Diggers 1933, 1933, EE. UU.), de Mervyn LeRoy, con Joan Blondell, Warren Wiliam y Ruby Keeler. Presentación: Guillermo Balmori Musical coreografiado por el gran Busby Berkeley, en el que cuatro alegres aspirantes a actrices buscan casarse con un marido rico durante los duros tiempos de la Gran Depresión, tratados aquí con inusitada crudeza en uno de los más famosos números de la historia del género, "Remember my Forgotten Man". El problemático vínculo entre el amor y el dinero, la insinuación de los desnudos femeninos en la coreografía "Pettin' in the Park"­­ y la fuerte determinación de las protagonistas convirtieron a este film en uno de los primeros con metraje alternativo para eludir la censura. El sábado se proyecta el vídeo de la presentación del día anterior.Más información de este acto

Cine en la March: Protagonistas del Hollywood Pre-Code (VIII). Presentación de Vampiresas 1933 (1933) de Mervyn LeRoy. Guillermo Balmori. Vampiresas 1933 (Gold Diggers 1933, 1933, EE. UU.), de Mervyn LeRoy, con Joan Blondell, Warren Wiliam y Ruby Keeler. Presentación: Guillermo Balmori Musical coreografiado por el gran Busby Berkeley, en el que cuatro alegres aspirantes a actrices buscan casarse con un marido rico durante los duros tiempos de la Gran Depresión, tratados aquí con inusitada crudeza en uno de los más famosos números de la historia del género, "Remember my Forgotten Man". El problemático vínculo entre el amor y el dinero, la insinuación de los desnudos femeninos en la coreografía "Pettin' in the Park"­­ y la fuerte determinación de las protagonistas convirtieron a este film en uno de los primeros con metraje alternativo para eludir la censura. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

The Warner Archive's George Feltenstein and Warner Bros archivist Jeff Briggs join the podcast to celebrate the 100th Anniversary of Warner Bros on April 4th, by reviewing many of the classic films released by the Warner Archive on DVD or Blu-ray.  We start with silent classics from 1924 and make our way through the Vitaphone Varieties, the Jazz Singer, and into the talkies.  Then we touch on the Forbidden Hollywood releases, Busby Berkeley musicals, and gangster pics.  We also review some of the major stars of the first two decades of the studio's history, including John Barrymore, Al Jolson, Edward G. Robinson, James Cagney, Errol Flynn, and someone often called the 5th Warner Brother - Bette Davis.  These classic films on DVD and Blu-ray represent most of the best of classic Warner Bros and are the films that led to the early success that cemented Warner Bros as a major Hollywood Studio.Shop the films discussed on the podcast via The Extras websiteDodge City Premiere LinkVintage Friday the 13th (1939 WB Party) Link The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

As the BFI launches a major retrospective of the career of Gingers Rogers, Thos talks to film writer, Miles Eady, to discuss this versatile and talented actress who became legendary in the 1930s for working with Busby Berkeley, Fred Astaire, George Gershwin, Dorothy Fields, Irving Berlin, Jerome Kern and many others in the most important musical films of the first musicals golden age, the 1930s.

Mel Brooks' History of the World Pt. 2 drops today, so we're checking in on the origins! It's another sketch movie! Tripp learns he'd never seen this, it's good to be the king, the delights of Busby Berkeley musicals, and pissboys! All this and more! “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

GGACP celebrates Christmas 2022 with this winter blast from the past (from 2019) with actor-comedian Mario Cantone. In this episode, Mario and the boys discuss misleading movie titles, politically correct Christmas carols, the genius of Paul Frees (and Frank Loesser) and the 80th anniversary of “The Wizard of Oz.” Also: Jack Cassidy teams with Jim Backus, Judy Garland locks horns with Busby Berkeley, Ricardo Montalban serenades Esther Williams and Gilbert gets accosted by Snow White. PLUS: Jan-Michael Vincent! Lucille Ball sings! “Christmas on the Ponderosa”! Tony Curtis tells off Danny Kaye! And “Frosty the Snowman” turns 50! Learn more about your ad choices. Visit megaphone.fm/adchoices

As it's nearly Santa's birthday what better way to mark the occasion than by two podcasts doing a crossover episode? Christopher Webb & Robert Johnson are the hosts of Still Any Good which examines films and television shows that they enjoyed in their misspent youth and now revisit to see if they still hold up today. A perfect example is the 1981 Mel Brooks anthology comedy movie History Of The World Part One which qualifies for Goon Pod due to a small but significant role for Spike Milligan playing, as Chris puts it, "the Birdman of the Bastille". The film purports to tell the history of the world since man evolved from the fish, although skips most of it - what we do get is Sid Caesar and pals ugging it up as comedy cavepeople; a memorable Moses moment; a sword-and-sandal saga which outstays its welcome; the circumstances surrounding The Last Supper (with John Hurt as Jesus); the Spanish Inquisition as reimagined by Busby Berkeley; and the first stirrings of the French Revolution (it's highly doubtful Mel Brooks troubled himself to read Thomas Carlyle on the subject, being more interested in portraying Louis XVI as a randy old goat with a bums and bosoms fixation - hump or death? Purrrrlease.) Still, there's chuckles to be had along the way as Rob & Chris join Tyler to ask the question: is it Still Any Goon? SAG is here: https://stillanygood.buzzsprout.com/113660

Happy Birthday to Pearl Primus, Busby Berkeley, and Hinton Battle! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Busby Berkeley in the Amazon Approachability: 10/10 (G-Rated monster picture) Content Warnings: it's as approachable as anything Up Next: Madhouse (1981) RandomHorror9 T-Shirts! Hosts: Jeffrey Cranor & Cecil Baldwin (Find more of their work on Welcome to Night Vale) Editing: Grant Stewart Logo: David Baldwin Random Horror 9 Patreon Twitter & Instagram: @RandomHorror9 We are part of Night Vale Presents

We're in the money! Daniel is joined by Keith Rich to discuss the Busby Berkeley musical-comedy Gold Diggers of 1933! It's got laughs, romance, song & dance, and the Great Depression. What more could you want? Email the show at cobwebspodcast@gmail.com to say hi, and let us know what you think of the show! Cobwebs on Twitter: @cobwebspod Cobwebs on Instagram: @cobwebspodcast Daniel on Twitter: @eplerdaniel    Keith on Instagram: @keithwatchesfilm   www.cobwebspodcast.com

Biographer Jeffrey Spivak, author of Buzz: The Life and Art of Busby Berkeley • Jack Theakston on New Abbott & Costello and 3-D Restorations Coming Soon (88:33)

Warner Bros George Feltenstein brings a special guest to discuss the June 2022 Blu-ray releases from the Warner Archive.  John Fricke is the foremost authority on Judy Garland and he brings his insights and stories into a lively, fun-filled discussion of these three black and white Judy Garland films available now for the first time on Blu-ray.  First up is the glamourous 1941 musical "Ziegfeld Girl" starring Judy Garland, Hedy Lamarr, Lana Turner, James Stewart and directed by Robert Z. Leonard with musical numbers directed by Busby Berkeley.  Next, we review the 1942 musical "For Me and My Gal" starring Judy Garland, Gene Kelly, George Murphy, Martha Eggerth, and directed by Busby Berkeley.  A showcase for Judy and her vaudeville roots, this was also Gene Kelly's first film role.  And finally, we review the 1945 "The Clock" starring Judy Garland and Robert Walker and directed by Vincente Minnelli.  Purchase on Amazon:Ziegfeld Girl Blu-ray   For Me and My Gal Blu-rayThe Clock Blu-rayThe Wizard of Oz 4KFor all Warner Archive podcasts: www.theextras.tv/podcastsOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  www.otakumedia.tv

Con el sonido, llegó al cine el musical. La calle 42 (Forty Second Street, 1933, EE. UU.) de Lloyd Bacon es uno de los primeros exponentes del género, pero su importancia va mucho más allá de su condición pionera: las poderosas coreografías de Busby Berkeley, filmadas con exquisito sentido de la plasticidad, apuntarían las enormes posibilidades de un cine basado en la música. El crítico de cine, Javier Ocaña, presenta esta película que forma parte del ciclo Los orígenes del cine musical, dedicado a las incursiones pioneras en la sonorización del arte cinematográfico.Más información de este acto

Cine en la Fundación: Los orígenes del cine musical (IX). Presentación de "La calle 42" (1933) de Lloyd Bacon. Javier Ocaña. La calle 42 (Forty Second Street, 1933, EE. UU.) de Lloyd Bacon, con Warner Baxter, Bebe Daniels, Ruby Keeler y Dick Powell (85') El productor musical Julian Marsh, en horas bajas tanto económica como personalmente, decide montar un último espectáculo antes de retirarse. Los problemas empiezan cuando queda claro que la financiación de la obra depende no solo de la presencia de la actriz Dorothy Brock, sino también de su interés amoroso por uno de los productores. Con el sonido, llegó al cine el musical. La calle 42 es uno de los primeros exponentes del género, pero su importancia va mucho más allá de su condición pionera: las poderosas coreografías de Busby Berkeley, filmadas con exquisito sentido de la plasticidad, apuntarían las enormes posibilidades de un cine basado en la música y el movimiento. El sábado se proyecta el vídeo de la presentación del día anterior. Explore en canal.march.es el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Dave and Alonso talk about some international titles of note, and an early Busby Berkeley extravaganza. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram, and Facebook, spin a little web of dreams. Join our club, won't you?

MGM, 1939: the beginning of an era, as the Freed Unit gets started with the first Mickey Rooney and Judy Garland musical, Babes in Arms (directed by Busby Berkeley), and the end of an era, with Tod Browning's last film, the supernaturally tinged locked room mystery and bid for B-seriesdom, Miracles for Sale. Reflecting on the role of the blackface number in Babes in Arms prompts us to take a deep dive into the relationship of race to the concept of "American entertainment," and then at the end of the episode we return to problematic racial representations in classical Hollywood cinema, in the very different context of feminist film theory and psychoanalysis, in response to a listener email about our series on the Sternberg-Dietrich films.    Time Codes: 0h 01m 00s:                BABES IN ARMS [dir. Busby Berkeley] 0h 46m 09s:                MIRACLES FOR SALE [dir. Tod Browning] 1h 02m 30s:                Listener Mail with Dylan                           Studio Film Capsules provided The MGM Story by John Douglas Eames Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

After 32 features, Steven Spielberg has finally directed his first full-fledged musical! The director whose camera has visually danced compositionally on screen more than any other for almost 50 years, it all begs the question: Why did it take so long? And what other attempts at the musical form has he made over the years? I'm joined by Ted Haycraft as we discuss:Why the most obviously salvageablely revelatory sequence from 1979's 1941 is its muscial Jitterbug dance sequence;the cut-off Busby Berkeley opening for Indiana Jones and the Temple of Doom with its reverse dance shots;and why the key to good musicals, from stage to screen, is musical numbers that advance the story or theme forward.Also:Why 1991's Hook should have committed to its original conception as a musical;Spielberg's intention of stuffing other musical sequences into A.I. or The Terminal;the debate over whether the new 2021 West Side Story and the original, universally considered one of the greatest movies ever made, should have have been remade,and if the 2021 version, with all its updating, might legitimately be superior.The 2021 West Side Story is currently available in theaters for who knows how long. It'll likely end up streaming on Disney+ eventually. 1941 is available on DVD and Blu-ray; as is Indiana Jones and the Temple of Doom in streaming and physical media, and Hook DVDs and Blu-rays. Permalink

Actor, writer and director Billie Piper talks to Gemma Gracewood about the filmic influences behind her ‘anti-rom-com' directorial debut, Rare Beasts, a black comedy about dysfunction, misogyny, grief and tap-dancing also starring Leo Bill, Kerry Fox, Toby Woolf, David Thewlis and Lily James. Plus: the movies that got Piper's family through multiple lockdowns, the chaotic splendour of Paul Thomas Anderson, her love of Busby Berkeley and Pina Bausch, plus Cassavetes, Curtis, Dunham, Beyoncé, and the only celebrity she has ever been starstruck by. Rare Beasts is now in select US theaters and on demand, as of August 20, 2021. Related links: Letterboxd list of films mentioned The films of Mike Leigh, Todd Solondz, Ken Loach, Pina Bausch, Paul Thomas Anderson, John Cassavetes, Busby Berkeley, Judd Apatow and Richard Curtis Pixar films Reviews of Rare Beasts from Letterboxd members Timothy Evans, h and Leonie Split-diopter shots Credits: This episode was recorded in London, Pennsylvania and Auckland, and edited by Slim. Facts by Jack. Booker: Linda Moulton. Theme music: ‘Vampiros Dancoteque' by film and television composing trio Moniker. Transcript by Sophie Shin.

Luke tried floating in a sensory deprivation tank for the first time, evoking Busby Berkeley vibes. Plus, Apple's new iPhone camera is triggering some folks with a fear of holes. ... Today's show is sponsored by Modsy. Visit Modsy.com and use code TBTL to get 20% off.