Classic Ross Amico

Tag: Academy Awards

Hamlisch’s Historic Oscar Triumph

50 years ago today, Marvin Hamlisch made history at the 46th Academy Awards, when he became the first person ever to win in three music categories at the same Oscars ceremony. Hamlisch was honored with the awards for Best Original Score and Best Original Song (with Alan and Marilyn Bergman) for “The Way We Were,” and also in the rather cumbersomely-named category “Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation,” for “The Sting.”

Hamlisch’s use of ragtime as the basis for his music for “The Sting” contributed enormously to the Scott Joplin revival of the 1970s. Suddenly everyone was pecking out “The Entertainer” on their pianos. Nevermind the fact that the prevalence of Joplin’s music in the film was anachronistic for a caper set during the 1930s; the music perfectly complemented the bright and breezy hijinks of Paul Newman and Robert Redford.

Hamlisch was only the second artist, after Richard Rodgers, to win all five of the major awards: Emmy (4), Grammy (4), Oscar (3), Tony (1), and, most unusually for a musical, the Pulitzer Prize for “A Chorus Line.”

Hamlisch thanked Joplin in his “Sting” acceptance speech. Later, when the nominees for Best Original Score were read, Cher made a repeated hash of Hamlisch’s name, until corrected by Henry Mancini. But Hamlisch had the last laugh, when he in turn acknowledged her as “Sheer.”

The presenters for the song-and-adaptation Oscar were Donald O’Connor and Debbie Reynolds. John Huston introduced Mancini and Cher. As a nice bonus, John Williams was also honored with two more nominations, pre-“Jaws.” Williams won his first Oscar, for adapting the music for “Fiddler on the Roof,” in 1972.

The ‘70s were a very good decade for Joplin, who died in 1917 at the age of 48. In 1970, Joshua Rifkin’s first LP of Joplin piano rags became a classical bestseller for Nonesuch Records. The same year, the composer was inducted into the Songwriter’s Hall of Fame. In 1973, Gunther Schuller revived period orchestrations of Joplin’s works for another recording, “The Red Back Book,” which won a Grammy.

Joplin’s opera, “Treemonisha,” was finally given its first complete staging in 1972. And in 1976, Joplin received a citation from the Pulitzer Prize committee “for his contributions to American music.” Of course, by then, he had already been dead for 59 years.

More than anything, it was the use of his rags on the soundtrack for “The Sting,” and the resulting Top-40 status of “The Entertainer” (which reached number 3 on the Billboard charts), that brought Joplin roaring back into the popular consciousness.

Intriguingly, after Hamlisch’s death in 2012, it was revealed that he had been poised to succeed Peter Nero as music director of the Philly Pops, leaving us in the Philadelphia area to muse on what might have been.

More than just a singular sensation, Marvin Hamlisch was the one.

April 2, 2024
Oscars Predictions: Can’t Quit the Academy Awards

It’s the ceremony everyone loves to hate. In fact, it’s astonishing how many anonymous posters on the internet feel compelled to share their vitriol about, or more puzzlingly, their alleged indifference to, the Oscars. They couldn’t care less, they say, yet they must let everyone know in the comments sections of even the most innocuous online articles about the Academy Awards.

Yes, I’ve gone on a few seething tirades myself in recent years, but only on my Facebook page, lamenting the decline in the quality of the offerings and certainly of the ceremony itself. I boycotted the broadcast for at least two years, but then last year, what do you know, I sensed a little bit of an uptick. Even an Oscars cynic like me had to admit that most of the winners were very satisfying.

So, like Al Pacino, just when I thought I was out, they pull me back in. Or like a besotted cowboy in “Brokeback Mountain,” I just can’t quit Oscar.

I confess, for me, there’s a lot of baggage tied up with the Academy Awards. Watching the televised ceremony was always a happy time for my family when I was growing up, as we all gathered in the living room to chow down on shrimp and buffalo wings and cheese and veggies and dip in celebration of a medium we loved – the movies!

For years, I used to immerse myself in recordings of classic film scores from past Academy Award winners and view Oscar-winning movies in preparation for the main event.

But then the movies changed, the glamor evaporated, and the film scores got worse. It seems they can’t even get the “In Memoriam” segments right anymore.

But I have to say, on a whole, the nominees this year are the most interesting they have been in years, so I’m actually looking forward to watching tonight’s broadcast. Jimmy Kimmel is pretty much the best they can do for a host anymore. He’s witty and unobtrusive and he keeps the show rolling. Most of the hosts since Billy Crystal have been hideous, or at least not a good fit.

Needless to say, regardless of what occurs at the actual ceremony, there will be a constant, often wistful, running dialogue with my memories of Oscar, and of better, happier times at the movies. I’ll be sure to have plenty of Guinness and buffalo wings on hand to numb the pain.

Here are my predictions for a few of the major categories (with of course Best Original Score being one of them). Amazingly, I have seen every film listed this year, with the exception of “The Color Purple” and “May December.” There’s plenty of room for your unsolicited negativity in the comments section below.

Afterthought: What genius decided to schedule the interminable Oscars telecast for THE NIGHT AFTER EVERYONE’S LOST AN HOUR’S SLEEP?

BEST ACTOR

Nominees: Bradley Cooper, “Maestro”; Colman Domingo, “Rustin”; Paul Giamatti, “The Holdovers”; Cillian Murphy, “Oppenheimer”; Jeffrey Wright, “American Fiction”

WILL WIN: Cillian Murphy (“Oppenheimer”)
SHOULD WIN: Everyone else, except maybe Bradley Cooper
WHO DO I WANT TO WIN: Paul Giamatti

BEST ACTRESS

Nominees: Annette Bening, “Nyad;” Lily Gladstone, “Killers of the Flower Moon;” Sandra Hüller, “Anatomy of a Fall;” Carey Mulligan, “Maestro;” Emma Stone, “Poor Things”

WILL WIN: Lily Gladstone (“Killers of the Flower Moon”)
SHOULD WIN: Everyone
WHO DO I WANT TO WIN: Everyone, but Emma least

BEST SUPPORTING ACTOR

Nominees: Sterling K. Brown, “American Fiction;” Robert De Niro, “Killers of the Flower Moon;” Robert Downey Jr., “Oppenheimer;” Ryan Gosling, “Barbie;” Mark Ruffalo, “Poor Things”

WILL WIN: Robert Downey Jr. (“Oppenheimer”)
SHOULD WIN: Robert Downey, Jr.
WHO DO I WANT TO WIN: Robert Downey, Jr.

BEST SUPPORTING ACTRESS

Nominees: Emily Blunt, “Oppenheimer;” Danielle Brooks, “The Color Purple;” America Ferrera, “Barbie;” Jodie Foster, “Nyad;” Da’Vine Joy Randolph, “The Holdovers”

WILL WIN: Good buzz for Da’Vine Joy Randolph (“The Holdovers”)
SHOULD WIN: Probably Da’Vine Joy Randolph
WHO DO I WANT TO WIN: I love Jodie in anything she’s in, but probably Da’Vine Joy Randolph (who also appears as Mahalia Jackson in “Rustin”)
SIDE NOTE: Again, I did not see “The Color Purple”

BEST ORIGINAL SCREENPLAY

Nominees: Justine Triet & Arthur Harari, “Anatomy of a Fall;” Celine Song, “Past Lives;” David Hemingson, “The Holdovers;” Samy Burch & Alex Mechanik, “May December;” Bradley Cooper & Josh Singer, “Maestro”

WILL WIN: “Anatomy of a Fall”
SHOULD WIN: “Past Lives”
WHO DO I WANT TO WIN: Either one of those is fine by me
SIDE NOTES: A disgruntled screenwriter just accused “The Holdovers” of plagiarism; I did not see “May December”

BEST ADAPTED SCREENPLAY

Nominees: Cord Jefferson, “American Fiction;” Christopher Nolan, “Oppenheimer;” Greta Gerwig & Noah Baumbach, “Barbie;” Tony McNamara; “Poor Things,” Jonathan Glazer, “The Zone of Interest”

WILL WIN: “American Fiction” (and hopefully not “Barbenheimer”)
SHOULD WIN: “American Fiction” (it would have been even better if it had been a little edgier)
WHO DO I WANT TO WIN: “American Fiction”
SIDE NOTE: “Barbie” should not have been nominated in this category, but rather Best Original Screenplay, but because of its extraordinary success, they might be angling to reward it with something other than just Best Production Design

BEST DIRECTOR

Nominees: Jonathan Glazer, “The Zone of Interest;” Yorgos Lanthimos, “Poor Things;” Christopher Nolan, “Oppenheimer;” Martin Scorsese, “Killers of the Flower Moon;” Justine Triet, “Anatomy of a Fall”

WILL WIN: Christopher Nolan (“Oppenheimer”)
SHOULD WIN: Jonathan Glazer (“The Zone of Interest”)
WHO DO I WANT TO WIN: Martin Scorsese (“Killers of the Flower Moon”)

BEST PICTURE

Nominees: “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Oppenheimer,” “Past Lives,” “Poor Things,” “The Zone of Interest”

WILL WIN: “Oppenheimer”
SHOULD WIN: It’s Nolan’s year
WHO DO I WANT TO WIN: I have my favorites, and they are not “Maestro,” “Barbie,” or “Poor Things”

BEST ORIGINAL SCORE

Nominees: Ludwig Göransson, “Oppenheimer;” Robbie Robertson, “Killers of the Flower Moon;” Laura Karpman, “American Fiction;” Jerskin Fendrix, “Poor Things;” John Williams, “Indiana Jones and the Dial of Destiny”

WILL WIN: Ludwig Göransson (“Oppenheimer”)
SHOULD WIN: No one!
WHO DO I WANT TO WIN: I love you, Johnny… but no one!
ROOTING AGAINST: Hans Zimmer (even though he’s not nominated)

March 10, 2024
Academy Awards Weekend: Film Music on KWAX

We’re entering Academy Awards weekend, and the winner is… YOU!

Why? Because I’ve recorded THREE BRAND NEW SHOWS for KWAX for your delectation.

Regardless of how you feel about the current state of the industry or the awards ceremony itself, you have to concede, there’s quite a rich history of impressive music written for film. And the Academy Awards is always the perfect excuse to go excavating.

I’ll be leaning heavily into the nostalgia, beginning today on PICTURE PERFECT. We’ll hear selections from what has been dubbed the greatest film music concert in history. Elmer Bernstein, Johnny Green, Bernard Herrmann, Henry Mancini, Alfred Newman, Alex North, David Raksin, Miklós Rózsa, Dimitri Tiomkin, Franz Waxman, and more turned out for the occasion – all of them to conduct their own music.

They were joined by Mahalia Jackson, Andy Williams, and Jack Benny. What could only be described as a Hollywood Bowl superconcert was broadcast live over the CBS television network on September 25, 1963.

Highlights were issued on what became a highly collectible LP. The content was expanded for a CD reissue on the Columbia Legacy label in 1995. However, based on my reading and the fact that I’m finding other selections in my personal library that were recorded at the venue on the same date, there’s still much that remains to be compiled. Put out whatever you’re holding back on a double-disc, please, Sony!

On today’s show, we’ll hear ten musical selections. I hasten to add, not everyone mentioned will be represented; nor were they even included on the commercial recordings. Tune in to KWAX at 8:00 pm EST/5:00 pm PST. (See the streaming information below).

Then be sure to join me tomorrow morning when I’ll present a potpourri of classic film themes on SWEETNESS AND LIGHT. Tune in sharp at 11:00 EST/8:00 PST to enjoy 90 seconds of introductory fanfares from the great studios of Hollywood’s Golden Age.

Finally, also tomorrow, on THE LOST CHORD, it’s another in an occasional series of programs devoted to concert works by composers better known for their work in film. Among the featured works will be “Pas de Deux,” a concerto for violin, cello and orchestra, by James Horner (“Star Trek II: The Wrath of Khan,” “Braveheart,” “Titanic”), and the Concerto for Flute and String Orchestra by Jerome Moross (“The Big Countrty,” “The Cardinal,” “The Valley of Gwangi”). That show will stream Saturday at 7:00 pm EST/4:00 pm PST.

That should give you plenty of time to load up on the popcorn and buffalo wings for Sunday night’s ceremony. Listen to all three of these NEWLY-RECORDED RADIO SHOWS, wherever you are, at the link!

PICTURE PERFECT, the movie music show – Friday on KWAX at 5:00 PM PACIFIC TIME (8:00 PM EST)

SWEETNESS AND LIGHT, the light music program – Saturday on KWAX at 8:00 AM PACIFIC TIME (11:00 AM EST)

THE LOST CHORD, unusual and neglected rep – Saturday on KWAX at 4:00 PM PACIFIC TIME (7:00 PM EST)

https://kwax.uoregon.edu/

More about “the greatest film music concert in history”

http://www.filmmusicsociety.org/news_events/features/2013/092313.html

March 8, 2024
John Williams’ 54th Oscar Nomination

This year’s Academy Awards nominees were announced this morning, and sure enough, John Williams has earned yet another nod, for his score to “Indiana Jones and the Dial of Destiny.” Going into today, Williams was the most-nominated person alive. Now he’s even MORE the most-nominated (with the tally at 54). He also happens to be the second most-nominated person in Oscar history, after only Walt Disney (at 59).

The other nominees in the category of Best Original Score are Laura Karpman (“American Fiction”), Robbie Robertson (“Killers of the Flower Man”), Ludwig Göransson (“Oppenheimer”), and Jerskin Fenrix (“Poor Things”).

There’s a good possibility that whatever wins will do so for more than purely musical considerations. But that seems to be how it’s been for many years. The score for “Oppenheimer” is ludicrously overbearing.

In any case, it’s nice to see Williams handed another feather for his nest, even though his latest Indiana Jones music will not win. Or at least I hope it won’t. The film itself was godawful, and Disney has done all it can to be sure that your average consumer can’t get a hold of a physical copy of the soundtrack. A limited edition CD was made available for pre-order months in advance of the film’s release. If you didn’t know about it, you were welcome to spend hundreds of dollars for it on the collector’s market.

Merciful Disney has since decided to give everyone a second chance and make it available again as part of an expensive box set of all the Indiana Jones scores, duplicating the content of the previously-released soundtracks for all the other films. Thanks for nothing.

Williams should have automatically won for just about every year from at least 1975 to 1982. Nevertheless, he has been the recipient of five Oscars, for “Fiddler on the Roof” (adaptation of the stage musical by Jerry Bock & Sheldon Harnick), “Jaws,” “Star Wars,” “E.T. The Extra-Terrestrial,” and “Schindler’s List.” The last bestowed was in 1994.

It would be nice for him to get an honorary Oscar at some point – he’ll be 92 next month – but it wouldn’t be televised anyway, and Williams is doing just fine. Oscar needs John Williams more than John Williams needs him.

January 23, 2024
Tom Jones & The Genius of John Addison

If I hadn’t watched the Academy Awards the other night, one of the movies I would have had in my watch pile would have been “Tom Jones,” Best Picture winner of 1964, totally inappropriate – if it ever WAS appropriate – for these days of Twitter-propelled outrage. Let’s just say there is plenty of wenching in evidence and also a fox hunt that, though not excessively graphic, I confess is hard to watch. I think that’s the point, actually, but it does kind of wipe the smile off one’s face, coming as it does in the middle of a bawdy farce. The film also features a memorable eating scene, surely one of the most prolonged and comically eroticized in the entire history of cinema.

“Tom Jones” was also the recipient of awards for Best Director (Tony Richardson) and Best Adapted Screenplay (John Osborne), after the picaresque novel of Henry Fielding.

Also nominated were Albert Finney for Best Actor (the first of his five nominations), Hugh Griffith for Best Supporting Actor (his antics would be so “cancelled” in 2023), and Diane Cilento, Edith Evans, and Joyce Redman for Best Supporting Actress. “Tom Jones” is the only film in the history of the Oscars for which three actresses in the same movie were in competition for Best Supporting Actress. (The award went to Margaret Rutherford for “The V.I.P.s.”)

In addition, it received a nod in the category of Best Art Direction.

Freewheeling is one of the most fitting adjectives I can think of for “Tom Jones,” which is also vivacious, versatile, and virtuosic. The same could be said for Richardson’s direction, which at times reverts to silent movie style slapstick. It can certainly be said of the hand-in-glove score by John Addison, who was born on this date in 1920.

Addison too was awarded an Oscar. His music is a brilliant mix of unusual instrumentation (harpsichord, well-worn upright, banjo, accordion) and music hall brio.

Later, he provided the memorable music for “Sleuth.”

And, for television, “Murder She Wrote.”

Addison was the composer to whom Alfred Hitchcock turned, notoriously, after his falling out with Bernard Herrmann over the scoring of “Torn Curtain.” The studio was pressuring Hitch for a more “popular” sound. Ironically, Addison just wound up trying to conjure Herrmann – as did every one of Hitch’s collaborators thereafter.

Addison also provided music for “The Entertainer,” “A Taste of Honey,” “The Loneliness of a Long Distance Runner,” “Start the Revolution Without Me,” “Luther,” “The Seven-Per-Cent Solution,” “A Bridge Too Far,” and the television miniseries “Centennial.”

A student of Gordon Jacob at the Royal College of Music in London, he wrote a number of concert works, though he remarked, “If you find you’re good at something, as I was as a film composer, it’s stupid to do anything else.”

Here is Addison’s Trumpet Concerto in three movements:

I. https://www.youtube.com/watch?v=z9kX_RyXhac
II. https://www.youtube.com/watch?v=SrW_Tj8Pkw4
III. https://www.youtube.com/watch?v=GOJTZ2cnPLc

Over a half century before Warren Beauty and Faye Dunaway got caught up in the infamous “La La Land” snafu, Sammy Davis Jr. was bitten by “Tom Jones”:

Happy birthday, John Addison!

March 16, 2023

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