The song used in “Midnight in Paris”
I am going through the famous characters that Woody Allen presents in his excellent movie “Midnight in Paris.” By the way, I know that some of you are wondering how many posts I will have before I am finished. Right now I have plans to look at Fitzgerald, Heminingway, Juan Belmonte,Gertrude Stein, Gauguin, Lautrec, Geores Brague, Dali, Rodin,Coco Chanel, Modigliani, Matisse, Luis Bunuel, Josephine Baker, Van Gogh, Picasso, Man Ray, T.S. Elliot and several more.
Cole Porter, composer and songwriterBornJune 9, 1891(1891-06-09)
Peru, Indiana, U.S.DiedOctober 15, 1964(1964-10-15) (aged 73)
Santa Monica, California, U.S.SpouseLinda Lee Thomas (m. 1919–1954) «start: (1919)–end+1: (1955)»”Marriage: Linda Lee Thomas to Cole Porter” Location: (linkback:http://en.wikipedia.org/wiki/Cole_Porter)(her death)
Born:June 9, 1891 in Peru, Indiana, America
Died:October 15, 1964, Santa Monica, California, AmericaNationality:AmericanEra:Twentieth CenturyMain genre:Broadway and Popular MusicMain works:
- Broadway Musicals:
- Gay Divorce (1932)
- Anything Goes (1934)
- Kiss Me, Kate (1948)
- Can Can (1953)
- Silk Stockings (1954)
- Popular Songs:
- Let’s Do It, Let’s Fall In Love (1928)
- Love For Sale (1930)
- Night and Day (1932)
- You’re The Top (1934)
- Don’t Fence Me In (1934)
- I Concentrate On You (1935)
- Begin The Beguine (1935)
- It’s De-Lovely (1936)
- I’ve Got You Under My Skin (1936)
- I Get A Kick Out Of You (1940)
- I Love Paris (1953)
- What Is This Thing Called Love? (1929)
A tender homage to Cole Porter.
Cole Albert Porter (June 9, 1891 October 15, 1964)
written by JX Bell
Cole Porter’s name derives from the surnames of his parents, Kate Cole and Sam Porter. Kate’s father, James Omar (known as J. O.), was an influential man both in the community and in Cole’s early life. J.O. started from humble beginnings as son of a shoemaker, but his business savvy and strong work ethic made him the richest man in Indiana. Despite J.O.’s obsessive drive for making money, he took time off to marry Rachel Henton, who had several children with him.
Kate Cole was born in 1862, and was spoiled during her youth as she was throughout her life. Kate always had the best clothes, the best education, and the best training in dancing and music. Kate’s father expected to marry her off to a man with a strong business background, a strong personality, and the potential for a good career. As it is for many filial presumptions and expectations, Kate married someone who was quite the opposite — a shy druggist from their small town of Peru, Indiana.
The couple married without the full consent of J.O., but he financially supported their wedding and subsidized the couple. As one of the richest men in Indiana, he thought his daughter should be seen doing and wearing the right things without financial fears. These subsidies from J.O. financed the rest of Sam and Kate’s life, as well as that of their son born on June 9th, 1891: Cole Porter.
Cole’s Early Years
Cole learned piano and violin at age six. He became very good at both, but he disliked the violin’s harsh sound and so his energy turned to the piano. During his formative years, he played piano two hours per day. While Cole practiced, he and his mother would parody popular tunes on the piano in order to increase Cole’s patience with such long practice sessions. ( http://www.coleporter.org/bio.html )
Biografia de Cole Porter em português: http://www.100anosdemusica.com.br/jazz_coleporter.htm
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Thank You for The Music Lyrics
(Songwriters: Andersson, Benny Goran Br; Ulvaeus, Bjoern K.)
ABBA
Woody Allen‘s Midnight in Paris, the director’s 41st film, opened the Cannes Film Festival today. Starring unlikely Allen hero Owen Wilson, Rachel McAdams, Marion Cotillard, Michael Sheen, Kathy Bates, Adrien Brody, Léa Seydoux, Alison Pill, and Gad Elmaleh, and featuring Carla Bruni in a cameo as a museum tour guide, Midnight in Paris has been greeted by mostly positive — though not necessarily enthusiastic — (English-language) reviews.
The film revolves around a modern American abroad who revisits Allen’s idealized Paris of the 1920s, when the city was host to a remarkable segment of the American cultural elite: Gertrude Stein, Ernest Hemingway, William Faulkner, F. Scott Fitzgerald. In fact, for a movie set in Paris, Midnight in Paris sounds like a very US-centered affair. Apart from Marion Cotillard, the only French stars featured in Allen’s ode to the French capital are Léa Seydoux and Gad Elmaleh.
Midnight in Paris opened in France today. It opens in the United States on May 20.
Midnight in Paris, also, is helped by its unashamed sense of fairytale fantasy. Owen Wilson, playing the Allen alter-ego Gil Pender, is indulging in a dream-life of literary American expats in 1920s Paris. (Allen even gets a reference in to the utterly obscure lesbian novelist Djuna Barnes.) Allen, with his unswerving adoration of old-time showtunes and unfettered veneration of Manhattan’s interwar nightclub scene, has always seemed a man out of time. Maybe he’s finally found his place. (Andrew Pulver in The Guardian.)
The film is good. Not a radical change in direction or form. But good. It rides on a familiar but clever and expansive central idea that sustains Allen’s interest, and ours. And that’s something that can’t be said of more than two or three Allen pictures from the last 20 years. (Michael Phillips in the Chicago Tribune.)
As beguiling as a stroll around Paris on a warm spring evening something which Owen Wilson’s character here becomes very fond of himself Midnight in Paris represents Woody Allen’s companion piece to his The Purple Rose of Cairo, a fanciful time machine that allows him to indulge playfully in the artistic Paris of his, and many other people’s, dreams. A sure-fire source of gentle amusement to Allen’s core audience but unlikely to connect with those with no knowledge of or feel for the Paris of the Fitzgeralds, Hemingway, Gertrude Stein and Picasso… (Todd McCarthy in The Hollywood Reporter.)
From this movie’s opening postcard-view montage of Paris — familiar in a number of ways — it’s clear the French capital is to be added to the list of cities that Woody Allen adores, and idolises all out of proportion. His new movie was an amiable amuse-bouche to begin the Cannes festival feast: sporadically entertaining, light, shallow, self-plagiarising. It’s a romantic fantasy adventure to be compared with the vastly superior ideas of his comparative youth, such as the 1985 movie The Purple Rose of Cairo, in which it was possible to step through the silver screen, or his 1977 short story “The Kugelmass Episode,” in which it was possible to enter the world of Madame Bovary. (Peter Bradshaw in The Guardian.)
Woody Allen’s Midnight in Paris — for my money, the best Allen movie in 10 years, or maybe even close to 20 — is all about that idea: Reckoning with the past as a real place, but also worrying about the limits of nostalgia. Allen, as an artist and as a person, has always liked old stuff: Old movies, old books, old jazz recordings — you could even say that it’s often been hard for him to live in the present. But instead of just reaffirming how great the old days were, Midnight in Paris — in ways that are sometimes delightfully silly and other times strangely, deeply moving — grapples with something more complicated and elusive. (Stephanie Zacharek in Movie Line.)
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