Out of curiousity, Howard L, how is this a "magic moment" from a movie?
Play it again, Ron.
?? I did. I heard 2:34 of song. The rest is silence.
What did I miss?
I guess my age is showing, Ron. Como's song "Magic Moments was a top 10 hit in 1958 when "pop" songs were still competing with early RnR on the charts. The song itself appeared in several films:
The Perry Como version is featured in the 1998 film, Fear and Loathing in Las Vegas, when Raoul arrives at a Vegas hotel where Dr. Gonzo is located, briefly in Dogma (1999), Police Academy (1984), Two Weeks Notice (2002), Bridget Jones: The Edge of Reason (2004), The Hitchhiker's Guide to the Galaxy (2005), and Episode 3 of the first season of the 2012 BBC series Call the Midwife, which is set in 1957 (from Wikipedia)
While not quite the meaning the OP intended, Howard L just actually extended its inclusion. Mike
Recordman, I think this is the beginning of a beautiful friendship. Indeed, technically my Kick the Can citation is from the TZ episode that tracked in bits of Herrmann's Walking Distance but it tangentially qualifies per its remake in TZ: The Movie, though a fan of the Goldsmith score I am but the segment I am not.
Between that and the Como, we's jus' doin' a riff on the subject title. Ya got that Charlie--er, Ron?
Roger Maris (Barry Pepper) hitting home run number 61 on the final day of the regular season breaking the legendary Babe Ruth's then "all time" single season record of 60 in Billy Crystal's "61*"
Hey A-Man just rewatched that one a few weeks ago and while attending a couple Grapefruit League games over this past weekend made reference to it to a Jersey guy who'd flown down. Billy C really did the whole thing right. Loved Candiotti doing the Hoyt W bit. PERFECT casting & recreation there and with the M&M boys. Unbelievable attention to detail.
Hey A-Man just rewatched that one a few weeks ago and while attending a couple Grapefruit League games over this past weekend made reference to it to a Jersey guy who'd flown down. Billy C really did the whole thing right. Loved Candiotti doing the Hoyt W bit. PERFECT casting & recreation there and with the M&M boys. Unbelievable attention to detail.
I agree with all you said Howard. I've posted about this film a lot in a bunch of threads over the years here. Crystal got the details right down to the mint green color of the old Yankee Stadium seats of the early 1960's. The whole color matching of old paint chips found under other multiple layers of paint on vintage Yankee Stadium seats people had. Not only that, just one example of the attention to detail is found in the scene I posted above. The extra in the checkered shirt backslapping Maris after he rounds the bases and the way he does it in the film is recreated as closely as possible to the way it actually looked. The order of the players on the bench etc.
A lot of baseball movies are terrible in their attention to these details as we know, but Crystal to his credit demanded it be right. He is a big Yankees fan and all this stuff was in his fiber growing up. Crystal was lucky to still have the old abandoned Tiger Stadium around at the time he filmed this movie to double for the look of the old Yankee Stadium in certain scenes. Seats in it's lower deck areas were painted over in that 60's mint green color. The whole look of the film was a brilliant recreation of the early 1960's. And he brought in a real pro in Haskell Wexler to make it so. A good score by Marc Shaiman to boot.
Somewhere the Daily News "Roger Reaches 61" edition is laying around the family archives. Can still see the pictures of Sal Durante. Talk about fifteen minutes of fame. First time Pop took us to a ballgame we saw Whitey Ford blow away the White Sox. Gary Peters or the rookie Tommy John threw for them. Pretty sure it was John. We had box seats between home plate and visitor's dugout on third base side thanks to a client. Maris swung and a foul ball bounced right at us. My older bro claimed he would have gotten it if I hadn't stuck my glove in the way. It went back on the field. He's still probably pissed.
In his stylish yet functional working-stiff menswear, wielding his .44 Magnum, arguably the most iconic firearm in movie history, Clint Eastwood cuts an indelible image in 1971's DIRTY HARRY. The script provides him with a feast of hardboiled dialogue, including the now-iconic “Do I feel lucky?” monologue (allegedly a contribution from an uncredited John Milius), in a scene so classic-hero cool that a seemingly endless number of parodies have failed to compromise its strength.
We go from moments in real life to reel life and vice versa. One of my magic moments comes from the small screen and owes much to Messrs. Serling and Goldsmith. It's from The Big Tall Wish, a moment in the face of boxer Bolie Jackson (Ivan Dixon) with a glissando underneath that captures the "inexplicable" with magnificent immediacy. A lifelong memory in the mind's eye and ear from youth, to be recalled when it happens off-screen.
mark 18:00 to 18:50--and beyond, for context and added Goldsmithian appreciation:
Clint Eastwood cuts an indelible image in 1971's DIRTY HARRY. The script provides him with a feast of hardboiled dialogue, including the now-iconic “Do I feel lucky?” monologue (allegedly a contribution from an uncredited John Milius), in a scene so classic-hero cool that a seemingly endless number of parodies have failed to compromise its strength.
It's also quite racist and one of the ugliest scenes in American film history. I'm right with those that view DIRTY HARRY as essentially a fascistic film.
Clint Eastwood cuts an indelible image in 1971's DIRTY HARRY. The script provides him with a feast of hardboiled dialogue, including the now-iconic “Do I feel lucky?” monologue (allegedly a contribution from an uncredited John Milius), in a scene so classic-hero cool that a seemingly endless number of parodies have failed to compromise its strength. --------------------------------------------------- It's also quite racist and one of the ugliest scenes in American film history. I'm right with those that view DIRTY HARRY as essentially a fascistic film.
Well, obviously you are in good company (Pauline Kael) with those who see the film as fascist. But calling that particular scene racist is a new one on me. Unless, of course, you believe that Harry would never say those things or act that way towards a white criminal. Oh, wait. He says those exact things and acts exactly that way towards the white criminal Scorpio at the end of the film.
Seeing (and hearing) the Total Recall main title in a big theater was magic for me. As much as I love the credit sequence from Superman The Movie I was disappointed how the WHOOSH sound effects (in the remastered DVD version) drowned out much of the music in that film. Not the case with TR because all you hear is music and the visuals enhance the experience. I never tire of it.
It's funny, Ron, but when I saw it in the theatre my first thought was that Spielberg should do an old-fashioned Hollywood musical that takes place in the heyday. Wish he'd do Mack & Mabel, it would seem the perfect vehicle for him what with its film history elements and that incredible score.
But that's not important, does my reply at least semi-answer your query? 
