Tag: Michel Legrand

How to translate visual art to the big screen? Generally, by focusing on the drama in the artists’ lives, that’s how.

And what drama!

This week on “Picture Perfect,” expand your palette with music from movies about the great artists. “The Agony and the Ecstasy” (1965), based on the novel of Irving Stone, dramatizes the friction between Michelangelo (Charlton Heston) and his benefactor, Pope Julius II (Rex Harrison), over the painting of the ceiling of the Sistine Chapel. For his part, Michelangelo would have been perfectly content to stick to sculpture. Alex North’s score is an Early Music banquet, with allusions to – and sometimes outright quotations of – music of the Renaissance.

Stone had another bestseller in “Lust for Life” (1956), about the tormented Vincent van Gogh. This time Kirk Douglas plays one of his most sympathetic roles – and looks remarkably like the artist. Anthony Quinn turns up as his “frenemy,” the painter Paul Gaugin, and earns an Academy Award for Best Supporting Actor. The great Miklós Rózsa wrote the music, softening up the edges of his brawny Hungarian sound with ethereal suggestions of the French Impressionists.

John Huston brought Pierre La Mure’s novel about Henri de Toulouse-Lautrec to the big screen as “Moulin Rouge” (1952) – not to be confused with the more recent Baz Luhrmann spectacle starring Nicole Kidman and Ewan McGregor, which relegated the artist to a supporting role. José Ferrer dominates the earlier version, spending most of the film walking through off-camera trenches and shuffling along on his knees. Georges Auric, one of the composers of Les Six (the loose collective that also included Francis Poulenc and Darius Milhaud), captures the spirit of the titular cabaret. The score became one of Auric’s best-known, thanks to the waltz, which yielded the popular hit “Where is Your Heart?”

“The Picasso Summer” (1969) is a departure from the usual formula of focusing on the artist himself. Instead, a young couple (Albert Finney and Yvette Mimieux), admirers of Picasso’s work, take off on a European adventure in an attempt to track him down. Originally Picasso had agreed to appear, but he was driven off by some off-screen drama involving a matador friend and Yul Brynner’s wife! The film was based on a short story by Ray Bradbury. Bradbury hated the adaptation, as did the studio, and “The Picasso Summer,” after being heavily cut and patched with new footage, was never released theatrically in the United States. The film is striking for its extended animation sequences inspired by Picasso’s paintings, and for its score by Michel Legrand.

I hope you’ll join me for brushes with the great artists, on “Picture Perfect,” music for the movies, now in syndication on KWAX Classical Oregon!

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Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu