#Best Romantic Songs of 1969 | Explore Tumblr Posts and Blogs

justforbooks · 8 months

Text

The actor Michael Jayston, who has died aged 88, was a distinguished performer on stage and screen. The roles that made his name were as the doomed Tsar Nicholas II of Russia in Franklin Schaffner’s sumptuous account of the last days of the Romanovs in Nicholas and Alexandra (1971), and as Alec Guinness’s intelligence minder in John Le Carré’s Tinker Tailor Soldier Spy on television in 1979. He never made a song and dance about himself and perhaps as a consequence was not launched in Hollywood, as were many of his contemporaries.

Before these two parts, he had already played a key role in The Power Game on television and Henry Ireton, Cromwell’s son-in-law, in Ken Hughes’s fine Cromwell (1969), with Richard Harris in the title role and Guinness as King Charles I. And this followed five years with the Royal Shakespeare Company including a trip to Broadway in Harold Pinter’s The Homecoming, in which he replaced Michael Bryant as Teddy, the brother who returns to the US and leaves his wife in London to “take care of” his father and siblings.

Jayston, who was not flamboyantly good-looking but clearly and solidly attractive, with a steely, no-nonsense, demeanour and a steady, piercing gaze, could “do” the Pinter menace as well as anyone, and that cast – who also made the 1973 movie directed by Peter Hall – included Pinter’s then wife, Vivien Merchant, as well as Paul Rogers and Ian Holm.

Jayston had found a replacement family in the theatre. Born Michael James in Nottingham, he was the only child of Myfanwy (nee Llewelyn) and Vincent; his father died of pneumonia, following a serious accident on the rugby field, when Michael was one, and his mother died when he was a barely a teenager. He was then brought up by his grandmother and an uncle, and found himself involved in amateur theatre while doing national service in the army; he directed a production of The Happiest Days of Your Life.

He continued in amateur theatre while working for two years as a trainee accountant for the National Coal Board and in Nottingham fish market, before winning a scholarship, aged 23, to the Guildhall School of Music and Drama in London, where he was five years older than everyone else on his course. He played in rep in Bangor, Northern Ireland, and at the Salisbury Playhouse before joining the Bristol Old Vic for two seasons in 1963.

At the RSC from 1965, he enjoyed good roles – Oswald in Ghosts, Bertram in All’s Well That Ends Well, Laertes to David Warner’s Hamlet – and was Demetrius in Hall’s film of A Midsummer Night’s Dream (1968), with Warner as Lysander in a romantic foursome with Diana Rigg and Helen Mirren.

But his RSC associate status did not translate itself into the stardom of, say, Alan Howard, Warner, Judi Dench, Ian Richardson and others at the time. He was never fazed or underrated in this company, but his career proceeded in a somewhat nebulous fashion, and Nicholas and Alexandra, for all its success and ballyhoo, did not bring him offers from the US.

Instead, he played Charles Lutwidge Dodgson (Lewis Carroll) in Alice’s Adventures in Wonderland (1972), a so-so British musical film version with music and lyrics by John Barry and Don Black, with Michael Crawford as the White Rabbit and Peter Sellers the March Hare. In 1979 he was a colonel in Zulu Dawn, a historically explanatory prequel to the earlier smash hit Zulu.

As an actor he seemed not to be a glory-hunter. Instead, in the 1980s, he turned in stylish and well-received leading performances in Noël Coward’s Private Lives, at the Duchess, opposite Maria Aitken (1980); as Captain von Trapp in the first major London revival of The Sound of Music at the Apollo Victoria in 1981, opposite Petula Clark; and, best of all, as Mirabell, often a thankless role, in William Gaskill’s superb 1984 revival, at Chichester and the Haymarket, of The Way of the World, by William Congreve, opposite Maggie Smith as Millamant.

Nor was he averse to taking over the leading roles in plays such as Peter Shaffer’s Equus (1973) or Brian Friel’s Dancing at Lughnasa (1992), roles first occupied in London by Alec McCowen. He rejoined the National Theatre – he had been Gratiano with Laurence Olivier and Joan Plowright in The Merchant of Venice directed by Jonathan Miller in 1974 – to play a delightful Home Counties Ratty in the return of Alan Bennett’s blissful, Edwardian The Wind in the Willows in 1994.

On television, he was a favourite side-kick of David Jason in 13 episodes of David Nobbs’s A Bit of a Do (1989) – as the solicitor Neville Badger in a series of social functions and parties across West Yorkshire – and in four episodes of The Darling Buds of May (1992) as Ernest Bristow, the brewery owner. He appeared again with Jason in a 1996 episode of Only Fools and Horses.

He figured for the first time on fan sites when he appeared in the 1986 Doctor Who season The Trial of a Time Lord as Valeyard, the prosecuting counsel. In the new millennium he passed through both EastEnders and Coronation Street before bolstering the most lurid storyline of all in Emmerdale (2007-08): he was Donald de Souza, an unpleasant old cove who fell out with his family and invited his disaffected wife to push him off a cliff on the moors in his wheelchair, but died later of a heart attack.

By now living on the south coast, Jayston gravitated easily towards Chichester as a crusty old colonel – married to Wendy Craig – in Coward’s engaging early play Easy Virtue, in 1999, and, three years later, in 2002, as a hectored husband, called Hector, to Patricia Routledge’s dotty duchess in Timberlake Wertenbaker’s translation of Jean Anouilh’s Léocadia under the title Wild Orchids.

And then, in 2007, he exuded a tough spirituality as a confessor to David Suchet’s pragmatic pope-maker in The Last Confession, an old-fashioned but gripping Vatican thriller of financial and political finagling told in flashback. Roger Crane’s play transferred from Chichester to the Haymarket and toured abroad with a fine panoply of senior British actors, Jayston included.

After another collaboration with Jason, and Warner, in the television movie Albert’s Memorial (2009), a touching tale of old war-time buddies making sure one of them is buried on the German soil where first they met, and a theatre tour in Ronald Harwood’s musicians-in-retirement Quartet in 2010 with Susannah York, Gwen Taylor and Timothy West, he made occasional television appearances in Midsomer Murders, Doctors and Casualty. Last year he provided an introduction to a re-run of Tinker Tailor on BBC Four. He seemed always to be busy, available for all seasons.

As a keen cricketer (he also played darts and chess), Jayston was a member of the MCC and the Lord’s Taverners. After moving to Brighton, he became a member of Sussex county cricket club and played for Rottingdean, where he was also president.

His first two marriages – to the actor Lynn Farleigh in 1965 and the glass engraver Heather Sneddon in 1970 – ended in divorce. From his second marriage he had two sons, Tom and Ben, and a daughter, Li-an. In 1979 he married Ann Smithson, a nurse, and they had a son, Richard, and daughter, Katie.

🔔 Michael Jayston (Michael James), actor, born 29 October 1935; died 5 February 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #michael jayston #in memoriam

12 notes · View notes

inemi · 5 months

Text

Jane Mallory Birkin, (14 December 1946 – 16 July 2023) was an English singer and actress. She attained international fame and notability for her decade-long musical and romantic partnership with Serge Gainsbourg. She also had a prolific career as an actress, mostly in French cinema.

"Je t'aime… moi non plus" (French for "I love you… me neither") is a 1967 song written by Serge Gainsbourg for Brigitte Bardot. In 1969, Gainsbourg recorded the best known version with Jane Birkin. The duet reached number one in the UK, the first foreign language song to do so, and number two in Ireland, but was banned in several countries due to its overtly sexual content.

12 notes · View notes

lucienballard · 1 year

Text

Jane Birkin, actor and singer, dies aged 76

Best known for the sexually explicit 1969 hit Je t’aime … moi non plus, she found fame in her adopted France

The British-born actor and singer Jane Birkin has been found dead at her home in Paris, the French culture ministry said on Sunday.

Birken, 76, was best known overseas for her 1969 hit in which she and her lover, the late French singer-songwriter Serge Gainsbourg, sang the sexually explicit Je t’aime … moi non plus.

Birkin found fame in her adopted France, catapulted into the public eye by her turbulent relationship with Gainsbourg. Her heavily accented French became her personal style signifier.

She crossed the channel in 1968 at the age of 22 to star in a film alongside Gainsbourg, who was 18 years her senior. It was the start of a 13-year relationship that made them France’s most famous couple, in the spotlight as much for their bohemian and hedonistic lifestyle as for their work.

The doe-eyed Birkin, with her soft voice and androgynous silhouette, quickly became a sex symbol, recording the steamy Je t’aime … moi non plus with a growling Gainsbourg. Banned on radio in several countries and condemned by the Vatican, the song was a worldwide success.

“He and I became the most famous of couples in that strange way because of Je t’aime and because we stuck together for 13 years and he went on being my friend until the day he died. Who could ask for more?” Birkin told CNN in 2006.

“So Paris became my home. I’ve been adopted here. They like my accent,” she said.

Birkin was born in London on 14 December 1946 to an actor mother and naval officer father. At 17, she married the James Bond composer John Barry, with whom she had a daughter, Kate, but the marriage lasted only three years.

She made waves in her film debut in 1966 with a full frontal nude scene in the swinging sixties classic Blow-Up by Michelangelo Antonioni.

After meeting Gainsbourg, 18 years her senior, in Paris on the set of a romantic comedy – he was her co-star – she moved to France permanently. Their musical and romantic relationship was tempestuous. During one of their raging rows, Birkin launched herself into the River Seine after throwing a custard pie in Gainsbourg’s face.

They had a daughter, Charlotte, who became a hugely successful actor and singer.

Birkin finally walked out on France’s favourite bad boy in 1980 and went on to to blaze her own trail. In cinema, she branched out from more ditsy roles to arthouse productions, gaining three nominations at the Césars – France’s Oscars – starting with La Pirate in 1985.

In her about 70 films she has been directed by France’s leading directors, including Bertrand Tavernier, Jean-Luc Godard, Alain Resnais, James Ivory and Agnès Varda.

A chronic alcoholic, Gainsbourg died of a heart attack in 1991 aged 62. A few years earlier, he was in the audience to hear Birkin perform her first solo concert at the age of 40 at the Bataclan theatre in Paris.

In 1998 came her first record without Gainsbourg, Á la Légère. But she repeatedly returned to his repertoire, singing his hits around the world accompanied by a full orchestra, including in 2020 in New York where she performed with Iggy Pop.

The English rose of French chanson became something of a national treasure, who preserved the accent that made the French swoon throughout her life and an endearing air of fragility.

Her life was marked by tragedy, with her eldest daughter Kate Barry, a photographer, apparently committing suicide in 2013. She had leukaemia in the late 1990s and in 2021 suffered a minor stroke.

With her flared jeans, mini-dresses and messy bangs, Birkin was the ultimate It girl in the 1970s. In 1984, Hermès named one of its handbags after her. She was made an Officer of the Order of the British Empire (OBE) in 2001 for her services to acting and British-French cultural relations.

Besides Charlotte and Kate, she had another daughter, the singer Lou Doillon, from her 13-year relationship with the French director Jacques Doillon.

RIP Jane

#jane birkin

25 notes · View notes

cy-gogglin · 10 months

Text

Welcome to Johnny Cash’s world of whiskey, sin and lyrical doom

Johnny Cash is a Mount Rushmore figure in American music. He had a voice as deep and ancient as the wellspring from which his folk and country heritage sprang, and a face that might well have been carved from a mountainside. Across seven extraordinary decades as a recording artist, from his debut single Hey Porter (1955) to his 67th and final album American IV: The Man Comes Around (2002), Cash wrestled with love, hate, crime, punishment, forgiveness, redemption, death and salvation. He was the God-loving sinner who could deliver his most famous line, “I shot a man in Reno just to watch him die”, with the same conviction he brought to a gospel spiritual.

“I have a feeling for human nature in difficult situations – don’t know why, but I always have,” Cash told me during an interview in 2003, the year before he died at the age of 71. We spoke via a transatlantic phone call, and I can still recall the thrill of hearing him come on the line with the four words he’d uttered at thousands of concerts: “Hello, I’m Johnny Cash.” That famous gravel voice was instantly recognisable, if a little shaky with age. When I asked him whether, looking back over his long life, he had any regrets, he laughed. “None that I’d really like to publicise. I don’t cry in my beer – or milk, for that matter.”

Cash was then in the midst of a late-career flourish, releasing a series of stripped-back albums produced by Rick Rubin. More than just a coda to a rollercoaster career, the American series framed Cash as an immensely complex figure, embodying and embracing the many contradictions of being human. “Truth is what ties it all together,” he told me of his vast recorded output, almost all of it featuring sparse productions that made no concessions to fads. “I never thought about doing it any other way except the simple, straightforward bare-bones way that felt right in the beginning. It carries my message in the song without a lot of adornment. I try to keep it down to earth – play it as it lays and say it as it is.”

Standing 6’ 2”, and with an incomparable gravitas, Cash was a big man in every sense of the word, and it takes a big book to do him justice. The Life in Lyrics is a proper doorstopper, a large-format hardback of 374 pages that weighs in at 4.5 lbs. Structured partly chronologically and partly thematically, it attempts to tell a life story in songs and pictures, packed with 125 lyrics – from the 600-plus Cash composed – plus hundreds of photographs, handwritten letters and memorabilia from his personal archive.

Cash with his son John Carter Cash in the mid-1970s - White Rabbit

The photos are glorious. In shots from 1969, a year in which Cash saw off the challenge of Elvis Presley, The Beatles and Simon & Garfunkel to be named the biggest-selling recording artist in America, his hands are bony and rough-skinned, testament to a poor childhood spent picking cotton and fights. His face looks whip-thin and dust-blown, brow deeply furrowed, eyes sunken and haunted. Those were his wild, mean days of amphetamines and whiskey. “I always thought somebody was trailing me,” he told me in 2002. It may have been the ghost of his beloved older brother Jack, who died, aged 12, in a horrific chainsaw accident. “I probably never did get over it,” Cash admitted.

But he certainly worked through it. Among the classic songs that Cash composed, and are reproduced here, were the deathless romantic ballad I Walk the Line, the bitter confessional Folsom Prison Blues, the epic Big River, the tragicomic flood narrative Five Feet High and Rising, the careworn lament Don’t Take Your Guns to Town, and the stark protest song All of God’s Children Ain’t Free. At their best, Cash’s lyrics are carefully wrought, with the basic structures and rhyming schemes of folk poetry underpinned by rough-hewn wisdom, sharp observation and quick wit. His signature song, The Man in Black, from 1971, remains an enduringly powerful statement of empathy for his fellow man: “I wear black for the poor and beaten-down / Living on the hopeless hungry side of town.”

These songs were written to be sung, however, and in The Life in Lyrics, without that inimitable voice to sustain them, their essential simplicity can appear trite. The accompanying text, written by authorised Cash biographer Mark Stiepler with dewy-eyed contributions from Cash’s son John Carter Cash, is informative but hagiographic, with a tendency to exaggerate achievements and gloss over failings. Cash’s brave 1969 anti-Vietnam war song, Route 1, Box 144, which describes a dead American soldier being returned to his family, may offer genuinely touching commentary, but is it really “the greatest argument for peace ever devised”?

youtube

There’s also an unfortunate tendency to brush over or excuse the darker elements of Cash’s life, the drug addictions, infidelities and appalling behaviour – despite the fact that these gave his music so much depth. The 1964 hit Understand Your Man is a song of spectacular bitterness directed at his soon-to-be ex-wife Valerie while he was already having an affair with future wife June Carter, yet it warrants only a brief, glib paragraph. I could have done with fewer stories about the deeply pious impulses behind Cash’s gospel hymns, and more tales about, say, the time he smashed every crystal chandelier in a hotel lobby in a drug-fuelled rage over his amorous rejection by a friend’s widow. The Man in Black accepted the darkness within him: it’s a disservice to try to whitewash his image now.

As well as being a songwriter, Cash was an interpreter who could make a song completely his own, but this aspect of his art is inevitably missing from a book of his lyrics, so there’s no commentary on such Cash hits as Ring of Fire, A Boy Named Sue, The Ballad of Ira Hayes, Highwayman or his definitive cover of Hurt (originally by the industrial metal group Nine Inch Nails). We do, however, learn of the genesis of one of his last and finest songs, the mysterious, apocalyptic The Man Comes Around. Composed in 2000, it was apparently inspired by a dream about Queen Elizabeth II, who told him: “Johnny Cash, you’re like a thorn tree in a whirlwind.”

In the last song Cash wrote, Like the 309, he imagined being carried away by a heavenly train, and viewed it with anticipatory relish: “Take me to the depot, put me to bed / Blow an electric fan on my gnarly old head.” As we reach the end of this mighty book, with the cumulative impact of Cash’s sincere words, the photos of his creased face changing over the years, his clear and consistent love for June and family and, indeed, his fellow man, the final pages become incredibly moving. Blind and weakened, Cash awaits his inevitable end, still embracing life with humour and pathos.

When I spoke to him that day, he was stoically suffering ill health, and in such constant pain that, having kicked his pill addiction, he was required to take painkillers just to function. Yet, when I asked what was the best advice he had ever received, he didn’t miss a beat. “Don’t sleep with your whiskey bottle by the bed,” he said, laughing deep and low. “That’s a piece of advice that has probably kept me alive this long.”

Johnny Cash: The Life in Lyrics is published by White Rabbit

Story by Neil McCormick || The Telegraph

#Youtube

11 notes · View notes

latamclassiclitbracket · 1 year

Text

Veinte poemas de amor y una canción desesperada - Pablo Neruda

Veinte poemas de amor y una canción desesperada es una de las célebres obras del poeta chileno Pablo Neruda. Publicado en junio de 1924, de la mano de la editorial nascimento, el poemario lanzó a su autor a la fama con apenas 19 años de edad, y es una de las obras literarias de mayor renombre del siglo XX en el idioma español. El libro pertenece a la época de juventud del poeta, su origen se suele explicar como una evolución consciente de su poética que trata de salirse de los moldes del modernismo que dominaban sus primeras composiciones y su primer libro, Crepusculario.

Lee más sobre esta obra en Wikipedia.

Twenty Love Poems and a Song of Despair - Pablo Neruda

Twenty Love Poems and a Song of Despair is a collection of romantic poems by the Chilean poet Pablo Neruda, first published in 1924 by Editorial Nascimento of Santiago, when Neruda was 19. It was Neruda's second published work, after Crepusculario and made his name as a poet. Veinte poemas was controversial for its eroticism, especially considering its author's very young age. Over the decades, Veinte poemas has become Neruda's best-known work, and has sold more than 20 million copies. The book has been translated into many languages; in English, the translation was made by poet W. S. Merwin in 1969. It remains the best selling poetry book in the Spanish language ever, almost 100 years after its first publication. As of 2020, it is in the public domain in the United States.

Read more about this work on Wikipedia.

#latam classic lit works #literature #literatura #Veinte poemas de amor y una canción desesperada #Pablo Neruda

11 notes · View notes

dollarbin · 8 months

Text

Sandy Saturdays #3:

It'll Take A Long Time

Sandy Denny never had a hit record. The only time her voice appeared on the singles chart she was singing in French, turning Dylan's Manfred-Mann-recorded creeper tale from 64 about where Bob's romantic partner is allowed to sleep, If You Gotta Go, Go Now, into an accordion driven novelty track.

youtube

I don't know about you but I'd rather have Sandy tell me where to sleep than Bob, especially given what Dylan's been accused of by a woman who was 12 year old at the time (google it if you must; it's the kinda story that makes the Dollar Bin shudder and quake, wondering if I should be writing about Care Bears or something equally benign instead).

Fairport Convention's awww shucks French language version, Si Tu Dois Partir, skyrocketed to #21 before the buying public moved on to everything else that happened in 1969. I don't imagine the single's Magical Mystery Gore cover art contributed much to sales.

Within six months Denny quit Fairport Convention. She'd never make the single chart again.

But she should have! If you want to get depressed, spend a little time researching the hit songs from 1972. Denny's not the only essential musician of the era who did not make it big; Van Morrison made his best (brace yourself, here comes a controversial opinion) record that year, Saint Dominic's Preview; its lead single Jackie Wilson Said topped out at #61 (but it was #1, thank goodness, in Ireland!). I think it's a cause for debate whether or not there are 60 better pop songs in history than that shakedown stomp a song. And Joni Mitchell's You Turn Me On, I'm a Radio barely fared any better that same year. But this piece of sorry shat sat at #1 for 6 weeks:

youtube

The song is a fitting soundtrack to every nightmare I've had about dental offices. (It's also kinda good, I guess, especially the part where he worries about his mother; someone outta comb Gilbert's chest hair for him and tell him everything will work out...).

Alone Again (Naturally) did lead to some good in the world, however: Biz Markie took the track and made real art out of it two decades later.

youtube

Maybe it's time for me to hunt for Biz in the Dollar Bin. He's on fire here. The poor guy needed a ride and didn't get one. Then it started snowing! Damn, I forgot about Biz Markie. He's awesome. And then there's this song. Biz Markie!!

youtube

Where were we? Oh yeah: Sandy Denny, 1972. Seriously, imagine if the graceful opening track from Sandy, her second solo record, entitled It'll Take a Long Time, with its orchestral swells and steady, shimmering glory, had not gone unnoticed that year. Imagine if it had dominated the charts instead of Alone Again.

youtube

Biz Markie would have then followed in Denny's footsteps, putting out his own version of her song entitled It'll Take A Long Time (For Biz To Sing This Song) 20 years later. And Sandy's estate would not have attempted to ruin hip hop in response (that's what Gilbert O'Chesthair did: he sued Markie and put the breaks on all the sweet sampling that was going on in early 90's hip hop, thereby shoving great bands like De La Soul into long term creative limbo). Rather, Sandy's estate would have reveled in the attention, spreading her amazing, largely forgotten music far and wide.

Just imagine a world in which everyone grew up knowing It'll Take a Long Time... Donald Trump never would have been our president. Who could like Denny's song and vote for anyone who preaches hate? Biz would have beat the Donald out in 2016, and served as our 2nd Black head of state, bringing peace, stability and voice cracking beats to the world over. Sure, Biz's untimely passing in 2021 would have been cause for global mourning, but his VP, Queen Latifah, would then be our current, first female and first queer, president and, as her first act of office, she would have put statues of Sandy and Biz up in place of some confederate nonsense.

It'll Take a Long, Long Time folks to clean up all the mess we're in. But we can get there.

#Youtube

4 notes · View notes

dweemeister · 8 months

Text

2023 Movie Odyssey Awards

And now, the penultimate step to conclude the 20223 Movie Odyssey. The Movie Odyssey Awards honor the best in films that I saw for the first time last calendar year for me. Rewatches do not count. Other eligibility rules (such as whether or not a “TV movie” versus a “streaming movie” can count can be found here).

All of these films that were nominated or won (except for Worst Picture) are worth your time and are worth seeking. Even some of the most flawed films I saw this year managed a nomination somewhere - it helps there are ten nominees per category. And, as always, my Best Picture winners are my highest recommendations of the year.

There's also a new category this year! Another music category (some of you are already sighing, I know) in the form of Best Original Score Cue.

Best Pictures (I'm naming ten, I'm not distinguishing one above the other nine)

Anatomy of a Fall (2023, France)

The Color Purple (1985)

I Know Where I’m Going! (1945)

Killers of the Flower Moon (2023)

The Last Command (1928)

Oppenheimer (2023)

Past Lives (2023)

The Prime of Miss Jean Brodie (1969)

Spider-Man: Across the Spider-Verse (2023)

Tár (2022)

For the second straight year, I have set a record low for the number of feature films that I saw in a calendar year since when this blog began (2012). And on my failure to adhere to my objective on seeing more pre-1980 movies than those released 1980 and after, this Best Picture list skews far more modern than it usually does. This is also the first Movie Odyssey Award for Best Picture slate without a 10/10 rated film.

Six movies from the 2020s doubles the record (set last year, with three) of Best Picture winners that have come from the current decade.

Anatomy of a Fall, through its courtroom drama lens, remarks on unknowability of even the people we love most. Steven Spielberg's adaptation of Alice Walker's novel The Color Purple is melodrama (a word I'm using here in the neutral sense) of the first order, and tenderly told. The romance I Know Where I'm Going! is not often mentioned when it comes to Powell and Pressburger films (it seems like their first postbellum film despite being set during WWII), but I think scholarship is coming around on that (and I approve).

Martin Scorsese looks like he is getting a lot of short shrift from critics and the industry for Killers of the Flower Moon as another movie dominates 2023's headlines instead. But I thought his adaptation of David Grann's non-fiction book was the best release of 2023, a dramatic epic set on the Oklahoma prairie retelling a horrible saga that American history forgot. Director Josef von Sternberg and Emil Jannings may have had a tumultuous working relationship, but this visually striking silent film makes incredible use of blocking of extras and an arguably career-best performance by Jannings.

Taking much of Killers of the Flower Moon's thunder is Christopher Nolan's Oppenheimer, surely one of the movies to define 2023. Nolan's 181-minute biopic epic is arguably his most humanistic film yet (for a director not known for his humanism). On a far different scale, Celine Song's Past Lives was perhaps one of the best romantic dramas I've ever seen in a theater.

Spider-Man: Across the Spider-Verse made its predecessor look safe by comparison with its wild variety of styles. Points off for its necessarily heavy exposition and incomplete narrative (it is the first part of two), but its radical background changes, ever-changing color palette, and comprehensible action choreography put the MCU to shame.

Lastly, Tár was very much overshadowed by Everything Everywhere All At Once last year, perhaps unfairly so (it doesn't help that when people hear that the film is immersed in the world of classical music, they immediately lose interest). And The Prime of Miss Jean Brodie was perhaps the film that shocked me the most all year, partly due to my expectations beforehand. Maggie Smith plays the title character in an atypical "teacher movie".

Best Comedy

American Fiction (2023)

Beauty’s Worth (1922)

Beverly of Graustark (1926)

Block-Heads (1938)

Fanfan la Tulipe (1952, France)

The Ghost and Mr. Chicken (1966)

Heathers (1988)

The Holdovers (2023)

My Year of Dicks (2022 short)

An Ostrich Told Me the World is Fake and I Think I Believe It (2021 short)

This comes down to which movie made me laugh the most. I don't think this was that great a year on the comedy end, but Alexander Payne's The Holdovers is destined to be a Christmas classic. A Christmas classic for the sadsacks among us.

I thought The Ghost and Mr. Chicken was going to be utterly terrible. I mean, look at that frigging title. I respect Don Knotts for his Andy Griffith Show work, but I have to be in the right mood. But boy, it was ideal October viewing when I didn't want to watch a straight horror movie. Attaboy, Luther!

Appearing from the Academy Award for Best Animated Short Film slate last year are My Year of Dicks and An Ostrich Told Me the World is Fake and I Think I Believe It. If I was still doing the Movie Odyssey For-Fun Awards, those two would tie for "Best Title". Not even close. It helps that they both made me laugh a lot!

Best Musical

Barsaat (1949, India)

Carmen Jones (1954)

Êsse Mundo é Meu (This World is Mine) (1964, Brazil)

The Fabulous Senorita (1952)

Girls! Girls! Girls! (1962)

Guillermo del Toro’s Pinocchio (2022)

Sparkle (1976)

Sun Valley Serenade (1941)

This is the Army (1943)

Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night) (2019, Vietnam)

This category has always advantaged original musicals rather than stage adaptations. And the more songs, the better. Just edging out Barsaat and Sun Valley Serenade is Carmen Jones, an adaptation of Oscar Hammerstein II's adaptation of George Bizet's Carmen. Bizet's music remains; Hammerstein wrote the lyrics. Instead of Sevilla, we find ourselves in the American South and all-black cast starring Harry Belafonte, Dorothy Dandridge as Carmen, Pearl Bailey, Olga James, and Joe Adams. An important work, and one of the very few major studio Hollywood movies with an all-black cast. You'll have to get used to both Dandridge and Belafonte being dubbed (their voices not suitable to sing in an operatic style, so director Otto Preminger thought). however.

Sparkle could have won this had they adhered more to the late '50s/'60s Motown sound a lot more faithfully. And if, narratively, the movie was better.

Best Animated Feature

The Boy and the Heron (2023, Japan)

Ernest & Celestine: A Trip To Gibberitia (2022, France)

Guillermo del Toro’s Pinocchio

Marcel the Shell with Shoes On (2021)

My Father’s Dragon (2022)

Nimona (2023)

Puss in Boots: The Last Wish (2022)

The Sea Beast (2022)

Spider-Man: Across the Spider-Verse

Suzume (2022, Japan)

ATSV wins this category, but Ernest & Celestine took my heart yet again. Do yourself a favor: please see both the 2012 original and the sequel. The former is one of the best animated features of the young century and though the latter is not as good as the original, it's still very much worth your time.

I was a little disappointed in The Boy and the Heron and, to be honest, I disliked Marcel the Shell and Nimona - an opinion that, if I said this any louder, would invoke the wrath of many on tumblr. Cartoon Saloon misses for the first time with My Father's Dragon. The hot streak had to end some time! Puss in Boots was the biggest surprise in terms of expectations versus how good the movie actually was.

Best Documentary

Fire of Love (2022)

For Tomorrow (2023, Canada)

In Living Memory (2022 short)

Pianoforte (2023, Poland)

Refuge After War (2023)

The Stroll (2023)

Seen as part of the 2023 Sundance Film Festival. An HBO documentary, The Stroll is made by two transgender directors telling the story of the sex workers strolling around New York City's Meatpacking District in the 1980s and '90s, many of whom were transgender. I'm usually not a fan of documentaries where the directors are also subjects/have close ties to the material, but The Stroll is one of those rare exceptions. Beautifully told.

The classical music lover in me also deeply enjoyed Pianoforte, which follows a handful of young contestants (I think there's an age limit) at the XVIII International Chopin Piano Competition in Warsaw in 2021. One girl I recall said something akin to "I wish to play beautifully and with personality, but I also don't want to make a mistake!" Sorry miss, you've gotta do both! Also, I wonder how many of them hate Chopin's guts after competing in something like that.

Best Non-English Language Film

Anatomy of a Fall, France

Barsaat, India

Ernest & Celestine: A Trip to Gibberitia, France

Êsse Mundo é Meu (This World is Mine), Brazil

Fanfan la Tulipe, France

Fellini Satyricon (1969), Italy

Godzilla Minus One (2023), Japan

The Quiet Girl (2022), Ireland

Shayda (2023), Australia

Suzume, Japan

A relatively weak year in this category, and way too many films in here than there should be from this decade. But I'll highlight here Êsse Mundo é Meu, which I saw last February at the Academy Museum of Motion Pictures in LA (I would go more often if I didn't live so far). The film, an exemplar of Cinema Novo (taking inspiration from the French New Wave and Italian neorealism, a rejection of Brazilian popular musical and comedies at the time. The print was in bad shape, and the Museum had to recreate the English subtitles by themselves. But it was a wonderful film, and, unfortunately, it is rarely screened outside of Brazil. I highly doubt I'll see the likes of it again.

I'm still not sure what to make of Fellini's fantastical period, which took off after Juliet of the Spirits (1965, Italy).

Best Silent Film

Alice’s Wonderland (1923 short)

Beauty’s Worth

Beverly of Graustark

Clash of the Wolves (1925)

The Last Command

The Oath of the Sword (1914 short)

Something Good – Negro Kiss (1898 short)

With thanks to the San Diego Asian Film Festival for their screening of The Oath of the Sword, the oldest-surviving (that we know of) film made entirely by an Asian American film company and starring a nearly all-Asian cast.

I need to see more silent films next year.

Personal Favorite Film (TIE)

Are You There, God? It's Me, Margaret. (2023)

Barbie (2023)

Don’t Bother to Knock (1952)

Ernest & Celestine: A Trip to Gibberitia

Gentleman Jim (1942)

Godzilla Minus One

Ice Merchants (2022 short, Portugal)

The Strawberry Blonde (1941)

Sun Valley Serenade

Wee Willie Winkie (1937)

Godzilla Minus One was the best experience I had in a theater this last year, especially as a fan of Toho's kaiju films.

You can watch Ice Merchants, the highest-rated short film I've seen in years, here. And of course, the Academy disagreed with me.

Best Director

Guillermo del Toro, Guillermo del Toro’s Pinocchio

Federico Fellini, Fellini Satyricon

Todd Field, Tár

Ronald Neame, The Prime of Miss Jean Brodie

Michael Powell and Emeric Pressburger, I Know Where I’m Going!

Martin Scorsese, Killers of the Flower Moon

Celine Song, Past Lives

Steven Spielberg, The Color Purple

Josef von Sternberg, The Last Command

Justine Triet, Anatomy of a Fall

This is not the best film from Powell and Pressburger, but I Know Where I'm Going! is a fascinating, quickly-shot film that I maintain is underrated in their filmography. You know it was an underwhelming year for me, when I'm not really feeling any of these ten for Best Director. But it had to be awarded to someone.

Best Acting Ensemble

Angels (2023, Vietnam)

The Color Purple

Don’t Bother to Knock

Heathers

The Holdovers

Killers of the Flower Moon

Oppenheimer

The Prime of Miss Jean Brodie

The Sea Wolf (1941)

Women Talking (2022)

Whoopi Goldberg, Margaret Avery, Danny Glover, Adolph Caesar, Rae Dawn Chong,Oprah Winfrey, Desreta Jackson, Willard Pugh, Akosua Busia, Laurence Fishburne, Howard Starr... everyone, take a bow. Some career-defining performances in there, enough to evoke tears out of me multiple times. The Color Purple an obvious choice for me here.

If you were to have me pick runners-ups? Probably The Prime of Miss Jean Brodie. Killers of the Flower Moon.

Best Actor

Humphrey Bogart, Black Legion (1937)

James Cagney, The Strawberry Blonde

Albert Finney, Murder on the Orient Express (1974)

Brendan Fraser, The Whale (2022)

Hiệp Trần Nghĩa, The Accidental Getaway Driver (2023)

Emil Jannings, The Last Command

Roger Livesey, I Know Where I’m Going!

Bill Nighy, Living (2022)

Vincent Price, Witchfinder General (1968)

Edward G. Robinson, The Sea Wolf

I watched a lot of Vincent Price late in 2023. The Las Vegas Story (1952), House of Wax (1953), The Abominable Dr. Phibes (1971). Witchfinder General, also known in the U.S. as The Conquerer Worm, was the role I was least familiar with. And oh my goodness is he excellent here. Price plays Matthew Hopkins, a 17th century English witch hunter, and this is perhaps Price's least sympathetic villain that I have seen. The direction might not be all that great, but give Price a non-campy, sadistic role and he will deliver.

Cagney is vastly underappreciated in The Strawberry Blonde, Humphrey Bogart is surprisingly gullible in Black Legion, and Bill Nighy breaks hearts in Living (a remake of Akira Kurosawa's Ikiru).

Best Actress (TIE)

Lucille Ball, Lured (1947)

Cate Blanchett, Tár

Marion Davies, Beverly of Graustark

Dorothy Dandridge, Carmen Jones

Lily Gladstone, Killers of the Flower Moon

Whoopi Goldberg, The Color Purple

Olivia de Havilland, The Strawberry Blonde

Greta Lee, Past Lives

Marilyn Monroe, Don’t Bother to Knock

Maggie Smith, The Prime of Miss Jean Brodie

I... couldn't make a choice. So I made two choices. Whoopi is extraordinary in her breakthrough role. Her physical acting helps us intuit the changing fortunes and self-belief of her character, and never resorting to histrionics as some actresses might. A beautifully nuanced performance.

A little less nuanced is Maggie Smith as Ms. Brodie. Easily one of the most memorable teacher movies I have seen, and it is Smith - giving her all to one of the a most complicated character - who makes it work perfectly.

Runners-up? Blanchett, Davies, Dandridge, and Gladstone. This category was fantastic this year.

Best Supporting Actor

Sterling K. Brown, American Fiction (2023)

Elisha Cook Jr., Don’t Bother to Knock

Robert De Niro, Killers of the Flower Moon

Danny Glover, The Color Purple

Milo Machado-Graner, Anatomy of a Fall

Dustin Nguyen, The Accidental Getaway Driver

George Sanders, Lured

Dominic Sessa, The Holdovers

Christian Slater, Heathers

Teo Yoo, Past Lives

George Sanders? A romantic interest in a noir? What? Well he is here, a departure (perhaps) from his debonair villainous roles. You can always depend on Sanders to deliver. Also considered De Niro here.

Best Supporting Actress

Margaret Avery, The Color Purple

Pearl Bailey, Carmen Jones

Ingrid Bergman, Murder on the Orient Express

Joan Blackman, The Great Impostor (1961)

Hong Chau, The Whale

Sherry Cola, Shortcomings (2023)

Pamela Franklin, The Prime of Miss Jean Brodie

Rita Hayworth, The Strawberry Blonde

Oprah Winfrey, The Color Purple

Selina Zahednia, Shayda

Seen at the 2023 Sundance Film Festival, virtually. Shayda is an Australian movie in which Iranian mother Shayda (Zahra Amir Ebrahimi) seeks refuge in an Australian women's shelter during Nowruz, Persian New Year. Selina Zahednia plays the daughter, Mona, and gives one of the best and most believable child performances of the young century.

Avery, Franklin, and Oprah Winfrey would have been next up.

Best Adapted Screenplay

Cord Jefferson, American Fiction

Menno Meyjes, The Color Purple

Daniel Taradash and Charlotte Armstrong, Don’t Bother to Knock

Eric Roth and Martin Scorsese, Killers of the Flower Moon

Kazuo Ishiguro, Living

Leo Rosten, Lured

Christopher Nolan, Oppenheimer

Jay Presson Allen, The Prime of Miss Jean Brodie

Robert Rossen, The Sea Wolf

Sarah Polley, Women Talking

Complain about the 3-hour runtime all you want. I just don't see how anything could've been cut; in fact, I think Roth and Scorsese could've added more context. What pushes them over the top here was their commitment - however flawed - to take the focus away from what was originally a more white savior-y approach to its current form. An extremely risky ending acknowledges more than it lets on.

Best Original Screenplay

Justine Triet and Arthur Harari, Anatomy of a Fall

Abem Finkel and William Wister Haines, Black Legion

Daniel Waters, Heathers

David Hemingson, The Holdovers

Michael Powell and Emeric Pressburger, I Know Where I’m Going!

Celine Song, Past Lives

Garry Michael White, Scarecrow (1973)

Noora Niasari, Shayda

Makoto Shinkai Suzume

Todd Field, Tár

To descirbe the plot: Manchester native Joan Webster (Wendy Hiller) departs for the Scottish Hebrides in order to marry a wealthy industrialist she has never met. While awaiting the Scottish fog to clear, she meets a Royal Navy officer (Roger Livesey), who is happy to show her the sights and introduce her to the locals, whose humble lives are as far away from the war as could be possible.

Paramount Pictures (who didn't distribute the film) used this film's screenplay to their writer as an example of what a "perfect screenplay" looked like. Okay, it isn't perfect. But it's really damn good.

Best Cinematography

Dương Lê, Angels

Allen Daviau, The Color Purple

Êsse Mundo é Meu (This World is Mine)

Giuseppe Rotunno, Fellini Satyricon

Erwin Hillier, I Know Where I’m Going!

Rodrigo Prieto, Killers of the Flower Moon

Bert Glennon, The Last Command

Dewey Wrigley, My Friend Flicka (1943)

James Wong Howe, The Strawberry Blonde

Florian Hoffmeister, Tár

Best Film Editing

Nick Houy, Barbie

Jack Killifer, Gentleman Jim

John Seabourne, Sr., I Know Where I’m Going!

Thelma Schoonmaker, Killers of the Flower Moon

Michelle Tesoro, Maestro (2023)

Eddie Hamilton, Mission: Impossible – Dead Reckoning Part One (2023)

Jennifer Lame, Oppenheimer

Norman Savage, The Prime of Miss Jean Brodie

Mike Andrews, Spider-Man: Across the Spider-Verse

Monika Willi, Tár

Best Adaptation or Musical Score

Irving Berlin, This is the Army

David Buttolph, Cyril J. Mockridge, and Emil Newman, Sun Valley Serenade

Herschel Burke Gilbert, Carmen Jones

Alexandre Desplat, Guillermo del Toro’s Pinocchio

Joseph L. Lilley, Girls! Girls! Girls!

Curtis Mayfield, Sparkle

Jaikishan Dayabhai Panchal and Shankarsingh Raghuwanshi, Barsaat

Phạm Hải Âu, Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)

Heinz Roemheld, The Strawberry Blonde

Naoki Sato, Godzilla Minus One

This category awards film scores from musical movies or film scores that are taking a lot of pre-existing material and employing variations, but not enough to be considered a more original score. This category also tends to favor musicals, full stop.

And that's what we find here with Sun Valley Serenade taking its 4th and 8th place finishes in MOABOS for a solid, solid musical score.

Best Original Score

Richard Rodney Bennett, Murder on the Orient Express

Danny Elfman, Batman (1989)

Allan Gray, I Know Where I’m Going!

Maurice Jarre, The Island at the Top of the World (1974)

Quincy Jones, The Color Purple

Henry Mancini, The Great Impostor

Alfred Newman, My Friend Flicka

RADWIMPS and Kazuma Jinnouchi, Suzume

Dimitri Tiomkin, Land of the Pharaohs (1955)

John Williams, Indiana Jones and the Dial of Destiny (2023)

Hans Zimmer, The Creator (2023)

The Ancient Egyptian language no longer exists in spoken form, as does any of that civilization's music. So what to do? Hire the one composer in Old Hollywood that you could fling into a historical cultural context so unlike his own and make it sound as genuine as he could get it (even if I'm sure no ancient Egyptian would understand the score too much). Dimitri Tiomkin came from a Russian Jewish family that lived in what is now Ukraine. He was a master of American Westerns and was also accomplished in films set in ancient Greece and Rome. He composes for Land of the Pharaohs one of the most musically interesting epic scores of the 1950s - I just wish there were better, cleaner, more modern recordings of this music!

Danny Elfman's score to Batman the runner-up here (that score played an important part in Batman: The Animated Series, and gave composer/conductor Shirley Walker a very important foothold in the film and television industry), but Richard Rodney Bennett, Quincy Jones, John Williams, and even Hans Zimmer (whom longtime readers will know I have a difficult relationship in terms of his post-Gladiator scores... but my gosh, he composes striking melodies again in The Creator!) are all worthy nominees here.

Best Original Score Cue

“Appel à la resistance”, Vincent Courtois, Ernest & Celestine: A Trip To Gibberitia

“The Building of the Tomb”, Dimitri Tiomkin, Land of the Pharaohs

“Cat Chase”, Kazuma Jinnouchi and RADWIMPS, Suzume

“Helena’s Theme”, John Williams, Indiana Jones and the Dial of Destiny

“Main Title”, Danny Elfman, Batman

“Main Title/Pharaoh’s Procession”, Dimitri Tiomkin, Land of the Pharaohs

“Nueva York Train Chase”, Daniel Pemberton, Spider-Man: Across the Spider-Verse

“Quantum Mechanics”, Ludwig Göransson, Oppenheimer

“Top Gun Anthem”, Harold Faltermeyer, Top Gun (1986)

“True Love”, Hans Zimmer, The Creator

Our newest category! Yes, a fourth music category. MOABOSC. Okay, let's not.

I've actually wanted to create this category for some time, but I never did so until now. A film score cue is simply any single track heard in a movie, as you may have guessed. No lyrics (that's a song). Must be an original composition.

And it's John Williams who picks the inaugural award up for "Helena's Theme". Indiana Jones and the Dial of Destiny is not the greatest movie. But Williams, now at 91, can compose scores and cues that other composers would sell their souls to compose material half as good. "Helena's Theme" is the dominant new idea in Dial of Destiny. Helena, played by Phoebe Waller-Bridge, is Indy's goddaughter. And her motif, mainly expressed through strings, is a romantic line that harkens to Erich Wolfgang Korngold (a classical music composer who crossed over into films, set the sound for Warner Bros. swashbuckler movies from the 1930s-40s, and established many norms of film scoring still in place today). A tremendous piece from Williams.

Runners-up behind Williams? Elfman, Tiomkin (for the main titles), Pemberton, and Zimmer.

Best Original Song

“Chattanooga Choo Choo”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio

“Danger Zone”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun

“Êsse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu

“Hooked on Your Love”, music and lyrics by Curtis Mayfield, Sparkle

“I Know Why (And So Do You)”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrw Wyatt, Barbie

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple

“Qu-est-ce qu’on fait de l’amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest & Celestine: A Trip To Gibberitia

“Suzume”, music and lyrics by RADWIMPS, Suzume

Thanks to all of you who participated in MOABOS this year!

Best Costume Design

Jacqueline Durran, Barbie

André-ani, Kathleen Kay, and Maude Marsh, Beverly of Graustark

Rosemary Odell,The Black Shield of Falworth (1954)

Aggie Guerard Rodgers, The Color Purple

Danilo Donati, Fellini Satyricon

Jacqueline West, Killers of the Flower Moon

Norma Moriceau, Mad Max Beyond Thunderdome (1985)

Tony Walton, Murder on the Orient Express

Joan Bridge and Elizabeth Haffenden, The Prime of Miss Jean Brodie

Orry-Kelly, The Strawberry Blonde

Best Makeup and Hairstyling

Paul Engelen and Colin Jamison, Batman

Uncredited, Beauty’s Worth

Ken Chase and Robert L. Stevenson, The Color Purple

Gordon Bau, House of Wax (1953)

Emile LaVigne and Ann Locker, Land of the Pharaohs

Elizabeth Ann Fardon, Helen Evans, Rosalind Da Silva, and Cheryl Newton, Mad Max Beyond Thunderdome

Kazu Hiro, Sian Grigg, Duncan Jarman, Michael Mekash, and Kay Georgiou, Maestro

Stuart Freeborn, John O’Gorman, Charles E. Parker, and Ramon Gow, Murder on the Orient Express

Gordon Bau and Jean Burt Reilly, The Omega Man (1971)

Adrien Morot, Judy Chin, and Annemarie Bradley-Sherron, The Whale

I wonder how audiences though of the makeup in 3D back in the 1950s. Yes, House of Wax was filmed in 3D when it was a fad for the first time.

Best Production Design

Sarah Greenwood, Barbie

Anton Furst and Peter Young, Batman

Uncredited, Fellini Satyricon

Ted Smith, Gentleman Jim

Curt Enderle and Guy Davis, Guillermo del Toro’s Pinocchio

John Paul Kelly, A Haunting in Venice (2023)

Jack Fisk, Killers of the Flower Moon

Hans Dreier, The Last Command

Jack Stephens, Murder on the Orient Express

Anton Grot, The Sea Wolf

Achievement in Visual Effects

Alice’s Wonderland

All Quiet on the Western Front (2022)

Barbie

Batman

The Creator

Godzilla Minus One

In Which We Serve (1942)

The Island at the Top of the World

Mission: Impossible – Dead Reckoning Part One

Oppenheimer

Top Gun: Maverick (2022)

All of these films are winners. You can't make me judge the visual effects from a 2020s movie versus a '40s movie. Come on now.

Worst Picture

Barbarella (1968)

King Kong vs. Godzilla (1963, Japan)

Mười: Lời nguyền trở lại (Muoi: The Curse Returns) (2022, Vietnam)

Treasure Island (1973)

Wish (2023)

Because holy cow. What even was low-budget major studio animation in America in the 1970s?

Honorary Awards:

The Film Foundation, for their tireless devotion to the preservation and restoration of classic world cinema

Ben Model, for composing wonderful scores for silent films and helping to preserve the memory of the silent film experience

FILMS WITH MULTIPLE NOMINATIONS (excluding Worst Picture... 51) Thirteen: The Color Purple

Ten: Killers of the Flower Moon

Eight: The Prime of Miss Jean Brodie

Seven: I Know Where I’m Going!, The Strawberry Blonde

Six: Barbie, Guillermo del Toro’s Pinocchio, The Last Command, Murder on the Orient Express (1974), Oppenheimer, Suzume, Tár

Five: Anatomy of a Fall, Batman, Don’t Bother to Knock, Ernest & Celestine: A Trip to Gibberitia, Fellini Satyricon, Past Lives, Sun Valley Serenade

Four: Beverly of Graustark, Êsse Mundo é Meu, Godzilla Minus One, Heathers, Land of the Pharaohs, The Sea Wolf

Three: American Fiction, Barsaat, Beauty’s Worth, The Creator, Gentleman Jim, Lured, Shayda, Sparkle, Spider-Man: Across the Spider-Verse, The Whale

Two: The Accidental Getaway Driver, Angels, Black Legion, Fanfan la Tulipe, Girls! Girls! Girls!, The Great Impostor, Indiana Jones and the Dial of Destiny, The Island at the Top of the World, Living, Mad Max Beyond Thunderdome, Maestro, Mission: Impossible – Dead Reckoning Part One, My Friend Flicka, This is the Army, Top Gun, Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night), Women Talking

WINNERS (excluding honorary awards and Worst Picture; 32) 4 wins: The Color Purple

3 wins: I Know Where I’m Going!, Killers of the Flower Moon

2 wins: Anatomy of a Fall, Barbie, Godzilla Minus One, The Last Command, Oppenheimer, The Prime of Miss Jean Brodie, Spider-Man: Across the Spider-Verse

1 win: All Quiet on the Western Front (2022), Batman, Carmen Jones, The Creator, Fellini Satyricon, The Holdovers, House of Wax, Ice Merchants, In Which We Serve, Indiana Jones and the Dial of Destiny, The Island at the Top of the World, Land of the Pharaohs, Lured, Mission: Impossible – Dead Reckoning Part One, Murder on the Orient Express, Past Lives, Shayda, The Stroll, Sun Valley Serenade, Tár, Top Gun: Maverick, Witchfinder General

86 films were nominated in 27 categories.

#Movie Odyssey Awards #My Movie Odyssey

1 note · View note

brunettedelulu · 1 year

Text

Jane Birkin, a retrospective on her life.

Jane Birkin, "divine babydoll :

Jane Birkin is a British actress, singer and fashion icon, born on December 14 1946 in London, England, to a father who was a commander in the Royal Navy and a mother who was an actress. She has enjoyed a prolific artistic career and has become an icon of French culture.

Her film debut :

In 1965, Jane Birkin made her film debut in Richard Lester's "The Knack...and How to Get It", which brought her a degree of recognition. She played a series of minor roles in various films until 1969, when she was cast as Penelope in Jacques Deray's "La Piscine" alongside the iconic duo of Alain Delon and Romy Schneider. However, it was her meeting with French musician and singer Serge Gainsbourg that changed the course of her career and catapulted her to stardom.

Gainsbourg's muse, but not only... :

Jane Birkin and Serge Gainsbourg embarked on a romantic and artistic relationship, and had a daughter: Charlotte. Their most famous song, "Je t'aime... moi non plus", recorded in 1969, propelled the duo's popularity. But Jane always wanted to exist on her own and not just through Serge, as she explains in her book "Munkey Diaries".

A versatile muse :

Although she is best known as a singer and actress, she also had a significant influence in the fashion world. She was known for her casual look of simple blue jeans and a white T-shirt, her wicker basket, her long hair with fringes, and her natural make-up. Her appearance, combined with a nonchalant attitude, captivated many fashion designers of the time. The luxury brand Hermès created the famous "Birkin bag" inspired by the muse.

The iconic "Birkin" by Hermes :

The story goes that on a plane flight, Jane Birkin spilled the contents of her bag and complained to her neighbour about the difficulty of finding a bag suited to her needs. Her neighbour was none other than the CEO of Hermès, who then created a bag especially for her. Since then, the Birkin Bag has become the ultimate symbol of luxury and elegance, loved by celebrities and fashionistas the world over.

"My style is like a cocktail. I'm not as dressed up as a Frenchwoman, but I don't care like an Englishwoman." - Jane Birkin

6 notes · View notes

slackville-records · 11 months

Text

Behind The Music

Laura Nyro

She was not only an engaging performing, her songs were covered by everyone from Barbra Streisand to Three Dog Night

Writer and Music Historian John Einarson remembers the great singer & songwriter Laura Nyro on her birthday!

Born on this date, October 18, 1947, Laura Nyro (born Laura Nigro in the Bronx, NY), singer songwriter. She achieved critical acclaim with her own recordings, particularly the albums Eli and the Thirteenth Confession (1968) and New York Tendaberry (1969), and had commercial success with artists such as Barbra Streisand and The 5th Dimension recording her songs. Her style was a hybrid of Brill Building-style New York pop, jazz, rhythm and blues, show tunes, rock, and soul. Between 1968 and 1970, a number of artists had hits with her songs: The 5th Dimension with "Blowing Away", "Wedding Bell Blues", "Stoned Soul Picnic", "Sweet Blindness", and "Save the Country"; Blood, Sweat & Tears and Peter, Paul and Mary, with "And When I Die"; Three Dog Night and Maynard Ferguson, with "Eli's Comin' "; and Barbra Streisand with "Stoney End", "Time and Love", and "Hands off the Man (Flim Flam Man)".

Nyro's best-selling single was her recording of Carole King and Gerry Goffin's "Up on the Roof". For a time in the latter 60s her career was managed by a young David Geffen (photo below) who set up a publishing company for Nyro's songs and got her signed to Columbia Records after Nyro auditioned for Clive Davis in her apartment.

In late 1996, Nyro, like her mother before her, was diagnosed with ovarian cancer. After the diagnosis, Columbia Records prepared a double-disc CD retrospective of material from her years at the label. The company involved Nyro herself, who selected the tracks and approved the final project. She lived to see the release of Stoned Soul Picnic: The Best of Laura Nyro (1997), and was reportedly pleased with the outcome. She died of ovarian cancer in Danbury, Connecticut, on April 8, 1997, at 49.

Nyro's influence on popular musicians has also been acknowledged by such artists as Joni Mitchell, Carole King, Tori Amos, Patti Smith, Kate Bush, Janis Ian, Diamanda Galas, Bette Midler, Rickie Lee Jones, Elton John, Jackson Browne with whom she had a romantic relationship in the late '60s, Alice Cooper, Elvis Costello, Cyndi Lauper, Todd Rundgren, Steely Dan, Melissa Manchester, Lisa Germano, and Rosanne Cash. Todd Rundgren stated that once he heard her, he "stopped writing songs like The Who and started writing songs like Laura." Cyndi Lauper acknowledged that her rendition of the song "Walk On By", on her Grammy Award-nominated 2003 cover album At Last, was inspired by Nyro. Elton John and Elvis Costello discussed Nyro's influence on both of them during the premiere episode of Costello's interview show Spectacle. When asked by the host if he could name three great performer/songwriters who have largely been ignored, he cited Nyro as one of his choices. Elton John also addressed Nyro's influence on his 1970 song "Burn Down the Mission", from Tumbleweed Connection, in particular. "I idolized her," he concluded. "The soul, the passion, just the out and out audacity of the way her rhythmic and melody changes came was like nothing I've heard before."

A biography of Nyro, Soul Picnic: The Music and Passion of Laura Nyro, written by Michele Kort, was published in 2002 by Thomas Dunne Books/St. Martin's Press.

One of the finest singer/songwriters ever.

Photo Laura Nero Collection

0 notes

whileiamdying · 1 year

Text

Jane Birkin, Singer, Actress and Fashion Inspiration, Dies at 76

She was a lithe beauty of 1960s European film, a famous musical collaborator and lover of Serge Gainsbourg, and the namesake of elegant Hermès handbags.

By Constant Méheut and Alex Traub

Constant Méheut reported from Paris. Published July 16, 2023 Updated July 17, 2023, 11:53 a.m. ET

Jane Birkin, who helped define chic female sexuality of the 1970s as an actress in arty and erotic European movies and in her relationship — equal parts romantic and artistic — with the singer Serge Gainsbourg, died on Sunday in Paris. Ms. Birkin, who later became known for inspiring one of the best known lines of luxury handbags, was 76.

Her death was confirmed by President Emmanuel Macron of France, who called her “a French icon” in a message on Twitter. The French news media reported that Ms. Birkin had been found dead at her home but that the cause was not immediately known.

The child of a famously beautiful actress and a socially connected British naval officer, Ms. Birkin led a life guided by many happy accidents.

While she was on a flight in 1984, a plastic bag in which she was keeping her possessions broke, leading her to complain aloud that Hermès did not make a bag that could fit all her things. The man sitting next to her happened to be Jean-Louis Dumas, the chairman and head designer of Hermès. The company released the Birkin bag line the same year — in just the large size she had requested.

Standard Birkin bags now sell for $10,000, and the difficulties of obtaining one — given a complex manufacturing process and a deliberately rationed supply to boutiques — have given the bag the cachet of exclusivity.

Her relationship with Mr. Gainsbourg began just as fortuitously, in 1968. She was in her early 20s, her first marriage having fallen apart, when, without particular renown as an actress and without speaking a word of French, she managed to be cast in a French movie, “Slogan,” starring Mr. Gainsbourg.

The two fell in love, but Ms. Birkin did not see a way to remain long in France. Then, dining out one night, she had a chance encounter with the French director Jacques Deray, got hired to act in a movie of his, stayed in the country and solidified her relationship with Mr. Gainsbourg.

She lived in France for the rest of her life, and her engagement with Mr. Gainsbourg and his music proved equally enduring.

The most notable product of their collaboration and romance was their 1969 hit recording of Mr. Gainsbourg’s song “Je t’aime… moi non plus” (“I Love You… Me Neither”).

In the song, a duet, Mr. Gainsbourg speaks of sex in a low, conversational voice as Ms. Birkin confesses her love in suggestive murmurs and moans and the high-pitched singing of an ingénue.

The song was condemned by the Vatican and banned in several countries and by the B.B.C. television network. But it sold millions of copies.

Nearly 50 years later, in 2018, Ms. Birkin was still singing music by Mr. Gainsbourg, by then on a world tour of orchestral versions of his songs.

“If I am singing in Argentina in two weeks’ time,” she told The Guardian, “it is because of ‘Je t’aime.’”

Jane Mallory Birkin was born in London on Dec. 14, 1946, to Judy Campbell, an actress who gained renown for performing for British troops with Noël Coward during World War II, and Cmdr. David Birkin of the Royal Navy.

In 2021, her father’s exploits during World War II were recounted in “A Dangerous Enterprise,” a book by Tim Spicer, a former British military officer. Commander Birkin’s duties included navigating boats on moonless nights across the English Channel to bring to safety Allied spies, stranded airmen and escaped prisoners of war who had found themselves in France.

Ms. Birkin, at 18, married the British composer John Barry, known for arranging the trademark theme to James Bond movies, and they had a daughter, Kate. At 20, Ms. Birkin appeared in Michelangelo Antonioni’s hit 1966 movie, “Blow Up,” an erotic tale of a London fashion photographer. She played a fashion model — the credits listed her as only The Blonde — and gained some attention for a risqué nude scene.

“Had it all worked out with John Barry, I would never have been curious to know what was going on anywhere else,” Ms. Birkin told The Guardian in 2017. “I would have just gone on being his wife. I would have been delighted. But because he went off with someone else, and I was left with Kate, I had to find a job quite fast.”

That led to her audition for “Slogan.”

The movie that kept her in France was “La Piscine�� (“The Swimming Pool”), starring Alain Delon and Romy Schneider. (It found unexpected renewed popularity in the United States in 2021.) A sun-soaked film of sex and jealousy with many shots of scantily clad actors, the movie proved to be an effective showcase for Ms. Birkin’s long-limbed beauty.

Her romance with Mr. Gainsbourg captivated the French public. She was the young doe-eyed expat, he the aging but still virile artistic genius. The relationship lasted for more than a decade, ending when she left him in the early 1980s for the French film director Jacques Doillon. Mr. Gainsbourg died in 1991 at 62.

Though Ms. Birkin would later speak self-deprecatingly about her role as Mr. Gainsbourg’s muse, she embraced becoming “the keeper of the Gainsbourg flame,” as The New York Times labeled her in 2018.

She described to The Times connections between the music he wrote for her and work by classical composers like Chopin and Brahms.

“I would have thought that he was probably France’s most modern writer,” she said. “He invented a new language, he cut words in two like Cole Porter.”

Ms. Birkin released “Oh! Pardon tu dormais…,” her first album of her own songs written in English, in 2021. “The results are an emotional tour de force from an artist who has never gotten her musical due outside of France,” the music writer Ben Cardew wrote in a review for Pitchfork.

Ms. Birkin also continued to act, including in films by Agnès Varda and plays by Patrice Chéreau. She was also popular in France as an activist for women’s and L.G.B.T.Q. rights as well as for her British accent when speaking French, which the French found endearing.

“The most Parisian of the English has left us,” the mayor of Paris, Anne Hidalgo, wrote in a message on Twitter on Sunday. “We will never forget her songs, her laughs and her incomparable accent.”

Ms. Birkin had a mild stroke in 2021 and had recently canceled a series of concerts because of health issues.

She is survived by two daughters, one with Mr. Gainsbourg and the other with Mr. Doillon: the singer-actresses Charlotte Gainsbourg and Lou Doillon, each of whom has, like their mother, inspired designers and followers of fashion. Her other daughter, Kate Barry, a photographer, died at 46 in 2013 in a fall from a window of her fourth-floor Paris apartment.

Ms. Birkin discovered that her romantic separation from Mr. Gainsbourg did not dim their collaboration. He kept writing new songs intended for her until he died.

After their breakup, “you could talk back to him for once,” she told The Guardian. “You were not just his creation any more.”

Guy Trebay contributed reporting from New York.

#Jane Birkin #obituary #Hérmes #Je t’aime… moi non plus #serge gainsbourg

0 notes

keepalivebollywood · 1 year

Text

10 Timeless Bollywood Classics By The Legendary Lata Mangeshkar You Should Listen Today

For more than seven decades, Lata Mangeshkar has been an iconic voice of Indian film music. As the most recorded artist in history, she’s had a hand in making some of Bollywood’s most beloved classics. Today, we’re taking a look at 10 of her timeless tracks that have stood the test of time and still inspire listeners.

Introduction to Lata Mangeshkar

Lata Mangeshkar is a legendary Indian playback singer. She has recorded songs for over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages. She is one of the best-known and most respected playback singers in India.

Mangeshkar was born on September 28,1929 in Indore, Madhya Pradesh, into a Marathi family. Her father, Pandit Deenanath Mangeshkar, was a classical singer and her mother, Shevanti, was a homemaker. Mangeshkar’s elder sister, Meena Khadikar, was also a playback singer.

Mangeshkar started singing at an early age and made her film debut when she was just thirteen years old. She has recorded songs for films in various Indian languages, including Hindi, Marathi, Bengali, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam and Oriya.

Mangeshkar has won several awards for her contributions to Indian cinema, including the Padma Bhushan (1969), the Padma Vibhushan (1999) and the Bharat Ratna (2001). She has also been awarded the National Film Award for Best Female Playback Singer five times.

Mangeshkar’s career spans more than seven decades. She has sung songs for some of the biggest names in B

List of the top ten Lata Mangeshkar songs that have stood the test of time

Lata Mangeshkar is a legendary playback singer in India who has sung thousands of songs in her career spanning over seven decades. Her voice has been heard in some of the most iconic Hindi film songs of all time. Here is a list of the top 10 songs by Lata Mangeshkar that have stood the test of time:

1. Aye Mere Watan Ke Logo: This patriotic song was composed by C. Ramchandra and written by Kavi Pradeep. The song commemorates Indian soldiers who died during the Sino-Indian War in 1962. The song is still remembered today as one of the most emotional and patriotic songs ever sung.

2. Lag Jaa Gale: This romantic ballad was composed by Madan Mohan and written by Raja Mehdi Ali Khan. It was picturized on Manoj Kumar, Sadhana and released in 1964. The song is still popular today for its soulful melody and lyrics.

3. Chhup Gaye Sare Nazare: The song is a romantic ballad and is one of the most memorable songs sung by Lata Mangeshkar. Her voice is so beautiful and expressive that it perfectly conveys the emotions of the characters in the song.

4. Tere Bina Zindagi Se Koi: This evergreen love song was composed by R.D. Burman and written by Gulzar. It was picturized on Sanjeev Kumar and Suchitra Sen from the film “Khamoshi” and released in 1975. The song is still popular today for its soulful composition and meaningful lyrics.

5. Bahon Mein Chale Aao: The lyrics of the song are very heartwarming and describe the feeling of being in love. The song is from the movie Anamika. Bahon Mein Chale Aao is one of those songs that will stay with you long after you’ve heard it.

6. Yeh Galiyan Yeh Chaubara: This melodious song is from the movie Prem Rog. The song is sung by Lata Mangeshkar, and the music is composed by Laxmikant Pyarelal.

7. Ek Pyar Ka Nagma Hai: This song is one of the most popular songs sung by Lata Mangeshkar and Mukesh from the movie Shor and was released in 1972. The lyrics of the song are penned by Santosh Anand and the music is composed by Laxmikant-Pyarelal. It is a perfect track to listen to when you’re feeling romantic or missing your loved one.

8. Kora Kagaz Tha Yeh Man Mera: The song was sung by Lata Mangeshkar and Kishore Kumar, and picturised on Sharmila Tagore and Rajesh Khanna. The song starts off with a simple melody that gradually builds up into a crescendo. The lyrics are written in a simple yet emotive style, which perfectly captures the feelings of love and longing. The two singers have done a phenomenal job of conveying these emotions through their voices. The music is also very catchy and will stay with you long after you’ve heard it.

9. Yeh Kahan Aa Gaye Hum: This is a classic Bollywood song that has been sung by Amitabh Bachhan and Lata Mangeshkar. The song is from the movie Silsila and is one of the most popular songs of all time. The lyrics of the song are very meaningful and the tune is very catchy. The song has a very strong emotional impact on the listeners.

10. Tujhse Naraz Nahi Zindagi: This song from the movie Masoom is sung by Lata Mangeshkar. The song is a beautiful ballad that has a message of hope and resilience. It is a perfect song for someone who is going through a tough time in their life. The lyrics are very relatable and the melody is very soothing. This is one of those songs that you can listen to over and over again and never get tired of it.

Describe what makes Lata Mangeshkar’s voice so unique and special

Lata Mangeshkar is often referred to as the Nightingale of India and is one of the most celebrated playback singers in Bollywood history. Her unique voice has been described as “honey-coated” and “clear as a bell”, with a wide range and perfect pitch. Lata Mangeshkar began singing at a young age and made her film debut in “Paa laagu kar jori re” from “Aapki Sewa mein” (1947). She went on to record songs for hundreds of Hindi films and has sung in over 20 languages. Mangeshkar’s voice is truly one of a kind and her contributions to the world of Bollywood music are immeasurable.

How Her Songs Are Still Relevant Today

Lata Mangeshkar is often referred to as the Nightingale of India and has been praised for her exceptional vocal abilities. She has recorded songs in over a thousand Hindi films and has sung in multiple languages .

One of the things that makes Lata Mangeshkar’s music timeless is her ability to connect with her listeners. Her songs are full of emotion and resonate with people even today. In a world where Bollywood movies are increasingly becoming more formulaic, her songs offer a much needed respite. They are a reminder of a simpler time when movie songs were truly reflective of the human experience.

Some of Lata Mangeshkar’s most popular songs include “Bhigi Bhigi Rato Me”, “Tum Aa Gaye Ho Noor Aa Gaya”, “Zindagi Pyar ka Geet Hai”, “Gum Hai Kisike Pyar Me” and “Dil To Hai Dil”. These songs are still relevant today because they deal with universal themes such as patriotism, love, heartbreak and longing. No matter what language you speak or where you’re from, these songs will speak to you on a deep level.

The continued influence of her music and how it has impacted subsequent artists

Lata Mangeshkar is one of the most prolific and respected playback singers in India. She has sung hundreds of songs in Hindi and other Indian languages over her career, which spans more than seven decades. Her music has been influential to subsequent generations of Indian artists, both in terms of her vocal style and the choice of songs she has recorded.

Mangeshkar’s influence can be heard in the work of many contemporary Indian singers. For example, Sunidhi Chauhan has cited Mangeshkar as an inspiration, saying “I grew up listening to Lataji’s songs and try to emulate her style in my own singing.” Similarly, Shreya Ghoshal has said that “Lataji is my biggest inspiration… There is no one who can match her versatility or expressiveness.”

Lata Mangeshkar’s work has also been referenced by a number of international artists. In a 2013 interview, Beyoncé said that she was influenced by Mangeshkar when she was growing up: “My mom used to play a lot of Hindi movie music around the house… I definitely remember being fascinated by the sound of Mangeshkar’s voice.” .

Conclusion

Lata Mangeshkar has been an iconic figure in the Indian music industry for over 70 years, and her influence on popular culture will no doubt continue for generations to come. Her timeless songs have touched the hearts of millions, transcending boundaries of language and geography. There is no denying that Lata Mangeshkar was a pioneer when it came to Bollywood music, and she deserves all the respect and admiration that has been bestowed upon her by fans around the world.

#10 Timeless Bollywood Classics By The Legendary Lata Mangeshkar You Should Listen Today #old hindi songs #binaca geetmala #yesudas song lyrics #music #filmfareawards #binaca geetmala hindi songs #filmfare award winners 1960 #old hindi songs lyrics #binaca geetmala 1960 to 1970 #aesthetic

0 notes

ghostwoodcountryclub · 2 years

Text

The Gold Lion

There will never be another David Crosby. Founding member of seminal 1960’s pop folk stars The Byrds & later supergroup Crosby, Stills & Nash - his impact on American music has yet to be fully measured.

He was kicked out of The Byrds because he wanted to sing about the emotional vulnerability of an ongoing three-way romantic relationship, in addition to his general attitude of rebelliousness. The song rejected by The Byrds was recorded by CSN & called Triad.

The first CSN album from 1969 was groundbreaking & game-changing. Their second live performance was a little gig called Woodstock. By the time Neil Young joined the group fawning journalists were calling them The American Beatles.

Tragedy struck soon after when David’s girlfriend was killed in a car accident. This event plunged him into long-term depression culminating in a horror story of addiction. In spite of this sadness he persevered to make beautiful music.

Brash, out of shape, hair receding, chunky joint dangling from under his ever present walrus mustache, he was a polarizing figure that boldly embodied everything loved & despised about the counter culture. He was the ultimate unrepentant Hippie. The quality & scope of his artistry is often overlooked & minimized by mainstream media due to this fact, reducing him to a caricature, a Hippie punchline. How wrong they were & continue to be.

The music of David Crosby is no joke. In addition to his brilliant songwriting, his mastery of three-part vocal harmony remains unmatched to this day. The vocal melodies he created with Stephen & Graham were transcendent, instilled with a magical beauty no cheap computer generated fakery will ever achieve.

Crosby lived life unapologetically his way to a degree that infuriated conservative conformists. That in itself is a laudable achievement worth celebrating. His struggles with substances fail to overshadow the purity of his artistic vision, rather they confirm his humanity & serve as a reminder of caution for us all to navigate the best & worst of our own personal lifestyles.

Do yourself a favor & indulge in his music, especially highlights such as The Lee Shore, Wooden Ships, Almost Cut My Hair & Music Is Love. May the younger generations of today light a spark to carry forward from the torch of The Croz.

Long live the music of The Gold Lion.

- Shawn Ghost, January 20th 2023.

1 note · View note

all-datmatterz · 2 years

Text

Best Bollywood Old Songs list 1970 | Evergreen Old Songs You Must Listen

love and the lyrics of old Indian songs turn the music into a beautiful melody. our bollywood industry is famous for its dance sequences and songs. India has many legendary singers like kishore kumar, lata mangeshkar, ar rahman etc. India has a tremendous history in music.

Are you one of those people who like to listen to old songs?

The love and lyrics of the old songs turn the music into a beautiful melody. Our Bollywood industry is known for its dance sequences and songs. India has many legendary singers like Kishore Kumar, Lata Mangeshkar, AR Rahman, etc. India has a remarkable history in music.

In this article, we will discuss the best enduring Bollywood songs of all time. We have tried to create a list of 21 Oldest Hindi Bollywood Songs. I assure you that you will fall in love with these timeless Bollywood songs.

List of old Hindi Superhit songs of all time that you must listen to

Kabhi Kabhi Mere Dill Mein (1976)

This song is one of the most romantic old songs in Bollywood. This song features two big superstars, Amitabh Bachchan and Rakha Ji. This song won 3 Filmfare Awards for Best Male Singer, Best Lyricist and Best Music.

If you love someone, you should sing this song.

Lag Jaa Gale (1964)

These old classic Hindi songs were written by Raja Mehdi Ali Khan and sung by the great Lata Mangeshkar. This song has almost 172 million views on YouTube. Lata Mangeshkar said that this song is always etched in her heart.

Pal Pal Dil Ke Pass

Pal Pal Dil Ke is a super hit song which is passed down from legend Kishore Kumar. This song is from the 1973 film Blackmail.

The moral of this song is that a man never leaves the woman he loves, no matter how far he is from her. This is one of the best old bollywood songs.

Yeh Dosti (1975)

It is an old Indian friendship song sung by legend Kishore Kumar. It's a perfect song for best friends. This song is from Bollywood superhero movie Sholey.

"Yeh Dosti Hum Nahi Todengay, Todengay Magar Tera Sath Na Chordenge" This line is awesome if you hear it with your best friends.

In Aankho Ki Masti Ke (1981).

This song is sung by the amazing Asha Bosley and directed by the beautiful actress Rekha Ji. This song is from the 1981 movie Umrao Jaan.

Asha Bhosle won the National Film Award for this song. This is one of the best lazy romantic songs.

Ek Do Tin Char (1988)

This enduring old Indian song is breaking records thanks to the performance of beautiful actress Madhuri Dixit. This song is sung by Alka Yagni and Amit Kumar.

This song is from the movie Tezaab and has recently been recreated in the movie Baghi 2.

Mere Samne Wali Khidki Mein

Another old superhit Bollywood song. This song is from the movie Padosan, which means neighbor. Well, this is another famous song sung by legend Kishore Kumar. This old romantic Hindi song features Sunil Dutt and Saira Banu.

Lyrics of this song are penned by Rajendra Krishan.

Gulabi Ankhein (1970)

This wonderful old Hindi song is a pure love song sung by the legend Muhammad Rafi. This song is a completely different way of feeling. It is still the most popular song among young people.

This song is from thriller Train.

Badan Pe Sitare Lapate Hue (1969)

Another great performance by the legend Mohammad Rafi from Prince. This is a great Bollywood song from the 60s.

Inteha Hogyi Intezaar Ki (1984)

This song was sung by the wonderful singer Asha Bosley and star Kishore Kumar with Amitabh Bachchan and Jaya Prada. Kishore Kumar won the 7th Filmfare Award for this song.

This song is from Bollywood movie Sharabi.

Khaike Pan Banaras wala (1973)

The best song of the seventies. This song is popular not only in India but all over the world. Once again this song is sung by the legend Kishore Kumar from the movie Don. The same was recreated in 2006.

Mere Sapno Ki Rani Kab Aogi Tum (1969)

Kishore Kumar sang the classic Bollywood superstar song Aradhana from the Bollywood superhero movie starring Sharmila Tagore and Rajesh Khanna.

Sar Jo Tera Chakarai (1951)

This song brings Mohamed Rafi national fame. Sar Jo Tera Chakkaray has the attention of millions. Even today people want to hear this song.

Mere Hathoon Mein (1989)

This song is sung by Legend Lata Mangeshkar and penned by Anand Bakshi. This song is from the movie Chandni and Sridevi G.

Pyaar Kia Toh Darna Kya (1960)

This song is from one of the most powerful movies in Indian history, Mughal-E-Azam. This song is sung by the great Lata Mangeshkar. This song represents the love between a prince and his love Anarkali.

This song was shot at Sheesh Mahal, Lahore Fort.

Rang Barse (1981)

Bollywood's most famous old song was played during Holi festival. This song was sung by Amitabh Bachchan and penned by father Hrivansh Rai Bachchan. This song is from the movie series. This is one of the best Hindi folk songs.

Jumma Chumma Dee Dee (1991)

This song was sung by Sudesh Bhonsle and Kavitha Krishnamurthy. This song is from the movie Hum starring Amitabh Bachchan and Kimi Katkar. This song has over 21 million views on YouTube.

It's still the most popular song of 2021.

Mera Joota Hai Japani (1955)

This song was sung by Mukesh and rendered by Bollywood legend Raj Kapoor. This super song is from the movie Shree 420. This song has reached the whole country because of its national song lyrics.

This song was released at the time when India got its independence.

Pyaar Hua Ikraar hua

It is a song from the movie Shree 420 sung by Lata Mangeskar and Manna Dey. This timeless old bollywood song expresses the love between Raj Kapoor and Nargis.

Yeh Reshmi Zulfien (1961)

This is a song from Bollywood romantic movie Do Raste. This song represents the love between Rajesh Khanna and Mumtaz. This song is sung by Mohamed Rafi.

List of the best old Hindi songs from the 1950s

Joota Hai Japan – Shree 420 Movie

Bhooli Surat Dil Ke Koothay – Albela Movie

Sab Kuch Seekha Humne - Anari movie

Jalte Hai Jiske Liye – Sujata Movie

Yeh Raat Yeh Chaandni – Jaal Movie

Duniya Mein Hum Ayye Hai – Mother India movie

Maan Dolle Mera Taan Dolle – Nagin movie

#bollywoodoldsong #bestoldsong #oldsongslist #bestoldsongs

0 notes