John Barry, who supervised the music and composed the score for Midnight Cowboy, won a Grammy for Best Instrumental Theme. Fred Neil’s song “Everybody’s Talkin'” won a Grammy Award for Best Male Pop Vocal Performance for Harry Nilsson.
Bob Dylan wrote “Lay Lady Lay” to serve as the theme song, but did not finish it in time.T he movie’s main theme, “Midnight Cowboy”, featured harmonica by Toots Thielemans.
Among the film soundtracks that Thielemans recorded are The Pawnbroker (1964), Midnight Cowboy (1969), Cinderella Liberty (1973), The Sugarland Express (1974) and Looking for Mr. Goodbar (1977). His harmonica theme song for the popular Sesame Street TV show was heard for 40 years.
“Toots” played in both Benny Goodman’s and Charlie Parker’s bands, and on recordings by Edith Piaf, Peggy Lee, and Billy Joel (“Leave a Tender Moment Alone”). He passed away in 2016.
It is an unsatisfactory but all-too-familiar denouement of divorce battles involving children: the judge who must allow a violent man back into his family’s lives because there is no proof of abuse claims.
Last year the US Centers for Disease Control and Prevention analyzed around 10,000 murders of women in the decade from 2003, finding that more than half were perpetrated by a romantic partner or ex.
Continue reading “French domestic abuse thriller terrifying US audiences”
Though overall, a disappointment – I’m glad I finally got to see Django, which just hit my local cable movie offerings. I’ll first ac-cent-uate the positive, and say actor Reta Kateb makes a dashing Django Reinhardt. I’ll add that close-ups of Ketab’s guitar fingering is as impressive as … well, Sean Penn’s, anyway. I can forgive even the amount of fabrication in the screenplay. But, by the time Django with his gypsy bandmates and family are planning their escape from Nazi-occupied France in 1943, the movie just seems to run out of gas. (I’d say run out of heart, but the movie’s never has much of that to begin with.) The movie did make me pull out my Django recordings and listen to Minor Swing, Nuages, (the unofficial anthem of the French Resistance) and Sweet Georgia Brown. And that’s always a good thing.
Read the LA Times Review below:
In German-occupied France, guitarist Django Reinhardt (Reda Kateb) awakens to the horrors inflicted upon his people in this musically accomplished but “oversimplified, underfed and overburdened” film.
A bar fight breaks out during a pivotal scene in Django, the musically crisp yet mournful new wartime drama by Étienne Comar. As the fracas unfolds, the band keeps playing, with a blithe bemusement that seems to say: This happens all the time. But these are far from normal times.
The leader of the band is Django Reinhardt, the incomparably gifted Romani jazz guitarist, soulfully embodied by the French-Algerian actor Reda Kateb. He’s biding his time in the French Alps during German occupation, hoping for stealth passage across Lake Geneva into Switzerland. One of the men throwing punches is a Nazi solider, which means the inevitable: a lineup, a lockup and the sternest of warnings. Reinhardt is no good, it would seem, at laying low.
Kateb studied the guitar for a year to prepare for this role, and his work is evident: There’s an unstudied naturalism to the flicker of his fingers across the fretboard, and the film perks up whenever music is playing [ . . . ]
Read Full Review at: ‘Django’: Life — And Music — During Wartime