The latest score CD from Intrada is the first-ever commercial release of Frank De Vol's score for the 1972 Western ULZANA'S RAID, one of more than a dozen films De Vol scored for director Robert Aldrich, a collaboration which included such classics as Kiss Me Deadly, What Ever Happened to Baby Jane? and The Dirty Dozen. The film, from an original screenplay by the terrific screenwiter Alan Sharp (Night Moves, Rob Roy and, inexplicably, Damnation Alley) is a morally ambivalent adventure drama about a platoon hunting for an escaped Apache warrior. The cast is led by Burt Lancaster, Bruce Davison, Richard Jaeckel and Joaquin Martinez as Ulzana, and though the film received mixed reviews at the time of its release, partly due to its startling scenes of violence and torture, its reputation has deservedly soared over the years. While De Vol is often remembered more for his comedies and TV themes (and his on-screen role as bandleader Happy Kyne on Fernwood 2 Night and America 2-Night), he scored plenty of dramas, adventures and thrillers, and Intrada's release presents his complete, exciting 60-minute score.
Quartet has announced two brand new score CDs -- the first-ever release of Lee Holdridge's score to the 1983 hit comedy MR. MOM, starring Michael Keaton and Teri Garr (and featuring an early screenplay by John Hughes); and an expanded, two-disc set of Angelo Francesco Lavagnino's music for the two-part epic KALI-YUG: LA DEA DELLA VENDETTA/IL MISTERO DEL TEMPIO INDIANO.
Following their CD premiere releases of The Baby and the Oscar-nominated score for Birds Do It, Bees Do It, Caldera has announced a new CD of another previously unreleased score by Gerald Fried, ONE POTATO, TWO POTATO, a groundbreaking drama from 1964, directed by Larry Peerce (Goodbye, Columbus; The Other Side of the Mountain; Two-Minute Warning). The film told of the struggles of an interracial couple, and starred Bernie Hamilton and Barbara Barrie; Barrie won a Best Actress Award at the Cannes Film Festival for her performance in the film, and would be Oscar-nominated 15 years later for her best-remembered role, as Dennis Christopher's mother in Breaking Away; the film also earned an Oscar nomination for its original screenplay. The Caldera CD features the film's score as well as an audio commentary from Fried himself.
CDS AVAILABLE THIS WEEK
Kali-Yug: La Dea Della Vendetta/Il Mistero Del Tempio Indiano - Angelo Francesco Lavagnino - Quartet
Le Fils Prefere/Mademoiselle - Philippe Sarde - Music Box
Les Veces Etaient Fermes de L'Interieur/Le Chasseur de Chez Maxim's - Paul Misraki - Music Box
Mr. Mom - Lee Holdridge - Quartet
Ulzana's Raid - Frank De Vol - Intrada Special Collection
The Roads Not Taken - Sally Potter - Milan
The Meanest Man in Texas - Steve Dorff - Notefornote
Hackers - Simon Boswell, songs - Varese Sarabande
Star Wars: Shadows of the Empire (re-release) - Joel McNeely - Varese Sarabande
Django Il Bastardo - Vasco Vassil Kojucharov - Beat
Exorcism at 60,000 Feet - Richard Band - Dragon's Domain
Genova a Mano Armata - Franco Micalizzi - Digitmovies
Incident at Raven's Gate/The Time Guardian - Graham Tardif, Allan Zavod - Dragon's Domain
La Polizia Accusa: Il Servizio Segreto Uccide - Luciano Michelini - Digitmovies
L'Agnese Va a Morire - Ennio Morricone - Beat
Occhio Malocchio Prezzemolo E Finocchio - Guido & Maurizio De Angelis - Beat
One Potato, Two Potato - Gerald Fried - Caldera
The Paul Chihara Collection vol. 4 - Paul Chihara - Dragon's Domain
Preparati La Bara - Gian Franco Reverberi - Digitmovies
Tales of Frankenstein - William Stromberg - Dragon's Domain
THIS WEEK IN FILM MUSIC HISTORY
May 22 - Roger Bellon born (1953)
May 22 - Iva Davies born (1955)
May 22 - Richard Rodgers wins the Outstanding Music Emmy for Winston Churchill – The Valiant Years (1962)
May 22 - John Sponsler born (1965)
May 22 - Laurence Rosenthal wins the Emmy for his score to Michelangelo: The Last Giant (1966)
May 22 - James Horner
begins recording his score for Unlawful Entry
May 23 - Michel Colombier born (1939)
May 23 - William Stromberg born (1964)
May 23 - Tom Tykwer born (1965)
May 23 - Jimmy McHugh died (1969)
May 23 - George Bruns died (1983)
May 23 - Recording sessions begin on Patrick Doyle
’s score for Dead Again
May 23 - Kenyon Emrys-Roberts died (1998)
May 23 - Recording sessions begin for John Ottman's score for The Invasion (2007)
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Waddy Wachtel born (1947)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Jerry Fielding
begins recording his score for Shirts/Skins
May 24 - Duke Ellington died (1974)
May 25 - Pierre Bachelet born (1944)
May 25 - Alex North begins recording his score for Decision for Chemistry (1953)
May 25 - Rick Smith born (1959)
May 25 - Miklos Rozsa
begins Los Angeles recording sessions for Ben-Hur
May 25 - Elmer Bernstein wins the Outstanding Music Composition Emmy for The Making of the President 1960 (1964)
May 25 - Trevor Morris born (1970)
May 25 - Quincy Jones
begins recording his score for Killer by Night
May 25 - Star Wars
released in theaters (1977)
May 25 - Alien
released in theaters (1979)
May 26 - Bruno Nicolai born (1926)
May 26 - Miles Davis born (1926)
May 26 - William Bolcom born (1938)
May 26 - Alfred Newman
begins recording his score for Man Hunt
May 26 - Nicola Piovani born (1946)
May 26 - David Torn born (1953)
May 26 - Howard Goodall born (1958)
May 26 - Jerry Goldsmith
begins recording his score for The Satan Bug
May 26 - Sonny Sharrock died (1994)
May 26 - George Greeley died (2007)
May 26 - Earle Hagen died (2008)
May 27 - Rene Koering born (1940)
May 27 - Franz Waxman begins recording his score for Botany Bay (1952)
May 27 - Angelo Milli born (1975)
May 27 - Derek Scott died (2006)
May 28 - Victor Young begins recording his score for I Walk Alone (1947)
May 28 - Vertigo
is released in theaters (1958)
May 28 - Maurice Jarre begins recording his score for The Island at the Top of the World (1974)
May 28 - Fred Karlin wins the Emmy for The Autobiography of Miss Jane Pittman; Morton Stevens wins for the Hawaii Five-O episode score “Hookman” (1974)
May 28 - Maurice Jarre records his score for Posse (1975)
May 28 - Maurice Jarre begins recording his score for Solar Crisis (1990)
May 28 - Johnny Keating died (2015)
DID THEY MENTION THE MUSIC?
ANIARA - Alexander Berg
"The handsomely crafted film has a degree of spectacle, with good CGI work in external views of the vessel and its deep space surroundings. But rather than building expensive sets, the design team mostly makes use of existing interiors in shopping malls and other structures. Given the Swedish penchant for sleek minimalism, these work quite well as both 'futuristic' and familiarly commercial spaces. Helping to tie the tonally diverse, episodic package together is an appropriately spectral electronic score by Alexander Berg."
Dennis Harvey, Variety
"Indeed, the most absorbing sections of 'Dragged Across Concrete' are actually its most serenely conversational, as his characters shoot the blue-aired breeze while on stakeouts that stretch languidly across days, or while tailing vehicles in virtual real time on the interstate highway. In these stretches, the film is fat with the sharpest, seamiest stylistic pleasures of Zahler’s filmmaking, from the mustardy midnight haze of Benji Bakshi’s widescreen lensing to a terrific original song score that improbably matches Zahler’s high-kitsch lyrics to the creamy harmonies of revived soul collective The O’Jays."
Guy Lodge, Variety
"Smooth ‘70s-style original soul-funk tracks that director S. Craig Zahler wrote with co-composer Jeff Herriott -- a handful of them performed by artists from that era, The O’Jays and Butch Tavares -- inject a chill vibe into 'Dragged Across Concrete.' Otherwise only minimal scoring is used, the thinking being that the scenes should breathe according to their own rhythms and nothing should pollute the direct connection of the actors via their characters to the audience. That’s all well and good, but if ever a movie needed some extra muscle from a moody soundtrack, it’s this too-cool-for-school crime thriller about two cops gone rogue, which often lets its pulse rate slow to a crawl."
David Rooney, The Hollywood Reporter
GRETA - Javier Navarrete
"Jordan tries to upend the tenets of woman-in-peril melodramas, offering a tonier version of 1990s multiplex junk like 'The Hand that Rocks the Cradle' or 'Single White Female.' But whether it’s Javier Navarrete’s cheekily hyperbolic score or the story’s escalating preposterousness, 'Greta' also enjoys nudging us in the ribs, constantly reminding us that the film knows it’s ridiculous -- and that we should feel free to relish in how silly/scary it is."
Tim Grierson, Paste Magazine
"Give thanks to the overwrought instrumental cue from composer Javier Navarrete: This is meant to be campy, a B-movie in disguise. The tension-filled strings cut in first, horror-movie music that wouldn't be out of place in a 'Conjuring' film, and then we see what they're meant to highlight: Huppert, blithely flipping through Facebook to mine information about her latest prey. It's a daring little twist, but after its seemingly straightforward first few minutes, that single scene pushes Jordan's 'Greta' somewhere new, and it only gets weirder and wilder from there."
Kate Erbland, IndieWire
"All the while, Huppert is clearly enjoying herself playing a sort of scowling French Terminator, appearing with improbable speed and silence wherever Moretz goes but not truly gobbling up the scenery until the film’s wild back third. And Jordan keeps the hysterical energy high all around her, punctuating scenes with Javier Navarrete’s screeching serial-killer score and upping the absurdity even further by piling dream sequences on top of dream sequences. If this all sounds messy, it is. 'Greta' undeniably has some pacing issues, particularly in its first half, and the plot mechanics seem held together with the gum that Huppert spits into Moretz’s hair in yet another deranged scene. But for those who worship at the altar of camp, a story that doesn’t make a whole lot of sense is a feature, not a bug."
Katie Rife, The Onion AV Club
HIGH LIFE - Stuart A. Staples
"As always, what Denis omits is as important as what she includes. Backstories are kept to a minimum, and when the ship nears a black hole, there are exactly zero moments of hesitation before someone is shown piloting a space dinghy straight into it. The pulsing electronic music of Tindersticks’ frontman Stuart A. Staples tell us everything we need to know, accenting the film’s ultra-low-fi aesthetic while also reminding us that these varyingly spiritualized ladies and gentlemen are floating in space. And that teensy detail can be pretty easy to forget while staring at the ship’s decrepit examining rooms, its spartan dorms, and its cluttered hallways."
David Ehrlich, IndieWire
"And yet for all the effort Denis puts into demystifying outer space, she’s utterly transfixed by it, too. While there’s plenty of evidence that the black hole will crush Monte and the child, Denis isn’t in any position to say for certain, and stands in awe of the celestial beauty they encounter along the way. Though the superb sound design, and the music by Tindersticks lead singer and longtime Denis collaborator Stuart A. Staples, both thrum with eeriness and dread, 'High Life' isn’t so swamped by oppressive emotion that all hope is eclipsed, too. At a time when the Earth itself seems to be hurtling toward doom, the presence of genuine wonder and new life in the film carries a sliver of optimism. In the face of the void, in the farthest reaches of outer space, humanity persists."
Scott Tobias, The Verge
"It's the kind of film that sparks arguments on the way home, not just about what happened and what it meant, but whether it was a good movie -- and if not, precisely which expectations it failed to satisfy, and whether it ever intended to satisfy them. With its brutal violence, explicit sex, and up-close views of blood, sweat, urine, and semen, it is proudly an R-rated film, verging on NC-17 -- though the X-rating, which was discontinued by the MPAA almost 30 years ago, might feel more appropriate. Everything about this movie is retro, from the opaque yet fully felt performances (led by Pattinson) that make the audience come to the actors rather than the other way around, to Stuart Staples' analog synthesizer-heavy soundtrack, to the closing credits song by Tindersticks featuring none other than Pattinson, whose vocals suggest what Chris Isaak might sound like if he lost his will to live."
Matt Zoller Seitz, RogerEbert.com
"This kinky, often grotesque melding of genre science-fiction with all-out body horror is an audacious project, but the scope of its ambition is cleverly reined in by the low-key presentation, its more salacious potential muted down to an insistent threatening hum, like the background radiation of Stuart Staples’ score. Yorick Le Saux’s cinematography is restrained and intimate, though it captures the same kind of tactile beauty amid sleaze, in the same ochres and browns, as in Denis’ 'Bastards.' Even the involvement of Icelandic artist Olafur Eliasson is minimal, confined to an occasional spray of colored lights against a wall, and some color-blocked frames wherein red rooms look through blue filtered doorways to yellow halls beyond."
Jessica Kiang, Variety
"Likewise, the space exteriors (and there are only a handful of them) can come across as slapdash and unoriginal, as if Denis were only doing the bare minimum in that department -- although a shot of stars swirling around a black hole, like sperm swimming around an ovum, is memorable. Other elements work better, such as the haunting score by regular composer Stuart A. Staples (of the Tindersticks) and production design by Francois-Renaud Labarthe ('Personal Shopper') that gives the ship a very dirty and dysfunctional sheen, mirroring the lives of its turbulent passengers, who can only remain in peace for so long."
Jordan Mintzer, The Hollywood Reporter
KING OF THIEVES - Benjamin Wallfisch
"With that, 'King of Thieves' goes from being a chipper caper to a dour drama with a quickness that a burglar would envy. Unrest begins to divide the group, and things turn nasty fast. After the turn, the upbeat score from Benjamin Wallfisch and the retro soundtrack are at odds with the downbeat discord of the action. It’s unclear where our sympathies lie and where they’re meant to. It’s not with the law, with those characters given little attention and simply credited as 'Detective' and 'Police Officer.' Caine’s Brian is the center of the group -- and the film -- but even he doesn’t really deserve our alliance according to the screenplay by Joe Penhall. Instead, the movie just coasts on our affection for the beloved actor, as well as the rest of the familiar faces surrounding him."
Kimber Myers, The Playlist
"Calling 'King Of Thieves' the British answer to 'Gotti' is harsh, obviously. But honestly? It’s not much of a stretch. Both films are ostensibly based on true events, but lack the specificity and focus to convey those events in anything resembling an informative way. They both have leaden pacing and virtually no dramatic tension, for a sensation more akin to wading knee-deep through a mud pit than a thrilling rollercoaster ride. And they both condescendingly pander to their target audiences -- here, Baby Boomers who think calling someone a homophobic slur in a Cockney accent is the height of wit -- with dopey scripts packed with clichéd tough-guy dialogue. Add to that a stunningly amateurish score that contains (no sh*t) a brassy jazz arrangement of 'Dance Of The Sugar Plum Fairy,' along with some needle drops that make David Ayer seem subtle. But unlike 'Gotti,' 'King Of Thieves' doesn’t have one iconic actor burning through decades’ worth of goodwill. It has six."
Katie Rife, The Onion AV Club
"The planning and execution of the heist itself proceeds in fairly limber fashion, egged on by Benjamin Wallfisch’s dandy electro-jazz score. But it’s barely half the story in 'King of Thieves,' which dwells in more leisurely fashion on the ugly, petty fallout of the job, as honor amongst thieves falls predictably by the wayside when faced with millions to divvy up."
Guy Lodge, Variety
"The key flaw with 'King of Thieves' is its flat-footed style. Marsh pays lip service to the whirling kaleidoscopic cool of the Swinging Sixties with his nostalgic flashbacks and retro-flavored soundtrack, which blends a jazzy pastiche score with vintage jukebox hits, but his own cinematic grammar remains firmly rooted in drab docu-realism. And while Penhall's screenplay boasts some witty lines and elegiac grace notes, he frequently defaults to lowest common denominator scenes of grumpy old men tossing F-bombs and casual homophobic insults at each other. A master stylist like Scorsese or Soderbergh would have made this rich story dance off the screen. In Marsh's workmanlike treatment, it limps and shuffles."
Stephen Dalton, The Hollywood Reporter
LITTLE - Germaine Franco
"It’s tempting to wave away the premise of 'Little,' with it’s bright and sunny production design and straight-from-the-can score, as silly fun that one needn’t think too deeply about. Sure, it’s built around an exceedingly arbitrary pitch-deadline plot structure (an entitled white man needs a 'really great tech idea' in 48 hours or else!), but it’s also got a couple of very fun performances from Issa Rae, as Jordan’s long-suffering assistant, and particularly Martin, whose diminutive-yet-statuesque physicality and way around a deadpan head turn is a delight from beginning to end. (Hall is unfortunately underutilized, if present in spirit, through most of the film.) But as many times as I tried to get onboard with its proposed brand of breezy fun, it kept kicking me off, if only because I found myself running up against the very foundation of its premise."
Emily Yoshida, New York
SHADOW - Loudboy (Lao Zai)
"Instead of bold archetypes, everyone is a shadow, as captured in the remarkable palette of cinematographer Zhao Xiaoding (and a vast team of effects artists) which strips all color away. The effect is to create a motion watercolor of black washes, interrupted only by the warm sepia of flesh and -- in the inevitable, bloody denouement -- the bright red of blood. It's a stark and purposeful contrast to the saturated color coding of another of Zhang's martial arts masterpieces, 2004's 'Hero;' moreover, it's a far more subtle, delicate, and ultimately impressive use of computer effects than Zhang's attempt to make a Western-friendly blockbuster in monster mash 'The Great Wall,' but it's also deployed in service of his wu xia masterwork. That may sound like a bold claim, but 'Shadow' mixes the quiet intimacy of his character pieces like 'Raise the Red Lantern' with the wire-fu of 'House of Flying Daggers.' The spasmodic violence creates a stomach-churning counterbalance to the quiet palace intrigues, especially through the surgically placed classical Chinese score by Loudboy -- much of it carried through duets by the commander and his wife on the guqin and guzheng (paired Chinese zithers), which becomes a subtle subplot in its own right."
Richard Whittaker, The Austin Chronicle
"The bluntly macho shapes of swords and halberds (as swung and thrust by confident, scowling men) are contrasted against razor-edged umbrella weapons deployed with deliberately feminine motions (by men as well as women; when combatants get in touch with their feminine side, the movie suggests, they're able to achieve their goals in different, often surprising ways). The bearers of these killer umbrellas practically waltz into combat with them, hips swaying demurely, then use them as toboggans to carry them down steep, muddy hills. A sequence where an umbrella battalion tries to retake an occupied thoroughfare during a rainstorm attains a peak of controlled madness reminiscent of some of the wildest scenes in 'Kung Fu Hustle,' a classic that wasn't afraid to go full Looney Tunes. When Zhang crosscuts between a duel on a rainy mountaintop and a zither battle happening in a subterranean chamber, with the zither music providing the sequence's melody and the clanging blades percussion, the essence of action cinema is distilled."
Matt Zoller Seitz, RogerEbert.com
"But there’s more than just beauty in this tall twisted tale of power plays and divided loyalties; there’s wit, too. Madam has grown closer to her husband’s surrogate and further from her husband, and while Jing duels for the fate of the city, she duets with Yu in a zither pas de deux, which is just as thrillingly adversarial (indeed, the flutes-and-lutes of Loudboy’s classical Chinese score are perfect accents to the action throughout). And when Madam has a stroke of inspiration about how to combat the enemy’s mighty, thrusting-spear technique that involves using a parasol as a shield and moving in a graceful, 'feminine' sway, the technique is adopted by the Pei troops, though modified, so the umbrellas are now edged in sharp metal and send blades slicing through the air when twirled. During one particularly crazy sequence that should be credited to action sequence designer Dee Dee, a detachment of soldiers, each nested into an upturned umbrella, is catapulted, spinning like the teacups in Disneyland’s Mad Tea Party, down the waterslide of a rain-soaked city street: It may not be the most thematically weighty of art-house films, but the cinema of 'Show me something I’ve never seen before, and make it heart-stoppingly beautiful' has in 'Shadow' a new title for its pantheon."
Jessica Kiang, Variety
"Completing the package is the quietly minimalist score from Lao Zai, aka Loudboy, who has taken the theme of yin and yang to heart as well, constantly weaving together the sound of a zither and a flute."
Boyd van Hoeij, The Hollywood Reporter
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: The Mountain Between Us (Djawadi), Batman: Mask of the Phantasm (Walker), Gypsy [2003 cast] (Styne), War for the Planet of the Apes (Giacchino), Symphony No. 8 in G Minor (Dvorak), The Fate of the Furious (Tyler), The Lost City (Garcia), The Orphanage (Velazquez), The Best of Cinerama (various), Arabian Nights (Morricone), The Commuter (Banos), Earthquake (Williams), The Poseidon Adventure (Williams), Half Moon Street (Harvey), The Towering Inferno (Williams), The Long Road Home (Beal), Star Trek: The Next Generation: First Contact/Night Terrors/The Nth Degree/The Drumhead/The Best of Both Worlds (Jones), The Shape of Water (Desplat), A Gathering of Eagles (Goldsmith), Ferdinand (Powell), A Catered Affair (Bucchino), The Film and Television Music of Billy Goldenberg (Goldenberg), Fifty Shades Darker (Elfman), Enigma Variations/Falstaff (Elgar), The Strawberry Statement (Freebairn-Smith, songs), The Lives of Others (Yared/Moucha), Spring Parade (Salter/Previn), Shiver (Velazquez), The Silence of the Lambs (Shore), The Infernal Trio (Morricone), Yankee Doodle Dandy (Cohan/Heindorf), The Scarlet Letter/The Electric Grandmother (Morris), Claudine/Pipe Dreams (Mayfield/Knight)
Read: Wampeters, Foma & Granfalloons, by Kurt Vonnegut, Jr.
Seen: On a normal Memorial Day weekend, I would be seeing many movies in the theater while wishing I had more time to spend at home tidying up my apartment. This year I get my wish. Damn.
Watched: Columbo ("A Case of Immunity"), Star Trek ("Arena"), Band of Brothers ("Crossroads"), The More the Merrier, Columbo ("Identity Crisis," "A Matter of Honor"), Star Trek: Discovery ("Choose Your Pain"), Fawlty Towers ("The Psychiatrist")
REMEMBERING THE AGE OF ANTONOWSKY, PART TEN
Concluding (more or less) a series looking back at the remarkably verbose movie poster texts from the early 1980s at Columbia and Universal under studio executive Marvin Antonowsky.
All those years, all those dreams, all those sons…
one of them is going to be a star.
From Ralph Baskhi, the creator of “Fritz the Cat,”
“Heavy Traffic” and “The Lord of the Rings,” comes…
The State of The Art in Living Animation.
[American Pop, 1981]
His films have touched the hearts
and minds of audiences everywhere,
and the critics agree. “One of the
most important filmmakers of his
generation,” says The New York Times.
“Malle’s movies champion the discreet
charm of unconventionality,” cheers
The Saturday Review. He is the popularly
acclaimed director of PRETTY BABY and
MY DINNER WITH ANDRE, and received
an Academy Award nomination for his
directorial efforts in ATLANTIC CITY.
Now, Louis Malle serves up
a slice of American life,
and the laughs are on us
The comedy that dreams
the impossible scheme.
HE’S 40,000 YEARS OLD
Deep within an Arctic glacier
they found him,
preserved by a miracle of nature,
brought back to life by
a miracle of science.
Now medical science wants to
exploit him in the name of research.
One man wants to stop them
…in the name of humanity.
But he’ll need more than
a miracle to survive
…he’ll need a friend.
Sergeant Major Zack Carey
believed in Truth, Justice and the American Way…
until a small-town sheriff set him up,
and threw his only son in jail for a crime he didn’t commit.
Now, Sergeant Major Zack Carey is going
to try something a little different!
He was never in time
for his classes…
He wasn’t in time
Then one day…
he wasn’t in his
time at all.
[Back to the Future
It’s all about flights of fantasy. And the nightmare of reality.
Terrorist bombings. And late night shopping.
True love. And creative plumbing.
It’s only a state of mind.
Noel Holcroft is suddenly
heir to one of the greatest
fortunes in history.
Now, all he has to do is
stay alive to collect it.
[The Holcroft Covenant, 1985]
Danny has a dream of turning a wreck into
a rock and roll hotel. But the town, the cops and
the odds are against him.
So, he’s getting some help from the oddest team he can find.
It’s What You Need to Succeed.
[Playing for Keeps, 1986]
Michael Burgess wrote a book about
the American Revolution.
Now, Hollywood’s come to his town
to make a movie of it – Plunging him into
a summer of madness.
[Sweet Liberty, 1986]