the big noise is a 1944 comedy film starring stan laurel and oliver hardy .

it was produced by sol m. wurtzel and directed by mal st.clair .

the big noise ( 1944 film )

the big noise ( 1944 ) directed by malcolm st . clair • reviews , film + cast • letterboxd
laurel and hardy in the 1940s film ' the big noise ' . . .
( 1931 ) he ' s the big noise behind the talkies . in :
there are no critic reviews yet for the big noise . keep checking rotten tomatoes for updates !
big noise quotes .
quotes . net . stands4 llc , 2018 . web . 9 jul 2018 . < urltoken noise > .
there are no featured audience reviews yet . click the link below to see what others say about the big noise !
the big noise is better than its reputation , but given that reputation , it would almost have to be .
( 1929 ) the big noise : an unfanatical defense of the potentialities of talking pictures , the cinema ' s unwanted scion . in :
( 1929 ) dumb shows and noise : some considerations on the coming of the sound film . in :
( 1959 ) dubbing in the voices . also a big production . in :
3 films , good but not their best . jitterbugs ( 1943 ) , great guns ( 1941 ) and the big noise ( 1944 ) . i believe ollie and stan peaked in the late 1930s . but fans will enjoy the box set , nevertheless .
( 1977 ) now hear this : sound mixers are making noise . in :
but that ' s all nonsense .
the big noise
is not a great film but it ' s a passable way to spend 74 minutes with a classic comedy team . it ' s certainly not among laurel and hardy ' s best films . to see those , buy the hal roach feature
sons of the desert
and the roach short
the music box .
but in
the big noise ,
the boys ' genius still works at times .
deplores the deterioriation of the narrative capacities of visual imagery in the sound film .
concerning the sound film ' s effect on the deterioration of the living drama .
principles and practice in the use of speech , music , and noise .
the picture is the medium of statement , the sound is the medium of suggestion .
notes on the early days of the sound film by the director of the bellamy trial ( 1929 ) . discusses the effect of sound on the established film favorites of the silent days .
compares the acting techniques of the silent film , the sound film , and the stage . describes the panic of silent - movie stars induced by the advent of sound .
analyses the use of speech , noise , and music making connections between the narrative and thematic concerns .
musical structure
.
traces the role of the author ' s audio amplifier in the development of the sound film , and outlines the principle systems of recording sound on film ; cites the gains in realistic and emotional effectiveness conferred by sound upon the animated cartoon , the newsreel , the educational and the scenic film .
( 1983 ) ( bad ) film language : film and the status of writing . in :
( 1991 )
film séance
: the role of speech in soviet film exhibition of the 1920s . in :
predicts the success of the sound film , but insists it will not supplant the silent film . includes a discussion of various sound systems .
theoretical study of the aesthetic laws whose violation made the talking film so unsatisfactory .
the movies in our midst . documents in the cultural history of film in america
ex - soundman talks about his work in the swedish film studios during the twenties and the thirties .
the emergence of film art . the evolution and development of the motion picture as an art , from 1900 to the present
discusses the changes effected by sound film in the requirements for actors and studio equipment .
( 1936 ) a new stage in the development of the soviet film . in :
( 1953 ) the ' silent ' and the ' sound ' film . in :
reviews the first few years of talkies including the musical , the gangster film , grand hotel , and the mae west cycle .
rhythm in the sound film lies in the realtion of the change of angle in the visual stream to the sound dialogue which accompanies it .
“3m – magnetic media maker , a history of the first four decades ( 1944 . . . 1985 ) ” , by charles l alden . see review for details .
compares talking and silent films , to the advantage of the latter , relegating the sound film to the fields of farce and melodrama .
description of the apr and the problems of recording and reproduction of the sound for the wiz incluiding the playback for the musical sequences .
( 1967 ) sprache des films / sprache zum film / sprache im film . in :
needed something familiar , nostalgic and fun ; this 1944 laurel and hardy war - time comedy proved to be all of that and even more . . .
( 1975 ) the aesthetics of film sound : the importance of being audible . in :
pt . iv , the sound film , pp . 97 - 210 ; pt . vi , the future of the sound film , pp . 263 - 270 .
( 1984 ) teaching film with blinders on : the importance of knowing the language . in :
finds the advance of the sound film retarded by its failure to adopt more modern sociological concepts .
the sound man of the documentary journey to the outer limits tells of the equipment he used .
( 1976 ) the ' warner vitaphone peril ' : the american film industry reacts to the innovation of sound . in :
( 1974 ) un film sonore , un film musical , un film parlant : etude des sous - codes de la bande - son . in :
a critique of the sound film based on the premise that the art of the cinema is more closely related to music than to the theatre . with some remarks on the problems of screen acting .
. münchen : diskurs film , pp . 119 - 154 ( diskurs film . 8 . ) .
( 1976 ) writing the history of the american film industry : warner bothers and sound . in :
silent screen actors will withstand the competition by virtue of their familiarity with the technique of film acting .
the plot involves stan and ollie as bumbling janitors working in a private detective ' s office . a scientist named alva hartley ( arthur space ) calls the agency asking for detectives to guard his bomb , called the big noise . the bomb is so powerful it can win world war ii for the allies ( how prophetic ! ) . l and h want to be detectives , so they pose as such and take on the assignment .
( 1932 ) art , technique and internationality of the sound film . in :
description of the postsynchronization procedure of the dutch film een vrouw als eva ; includes a selection of comments from dutch film - makers about theor experiences with sound .
sound technician e . b . recalls the transition from silent to sound film .
( 1980 ) on the fundamental interactions of sound subcodes in film . in :
predicts the early demise of sound film . with notes on censorship of dialogue .
compares the histrionic techniques of the stage and silent film and analyzes the latter medium ' s effective penetration of audience psychology . includes remarks on scenario writing and economic aspects of sound film .
holds that the sound film is superior to the stage in technique and to other arts in its universality .
( 1952 ) the impact of sound upon the film industry : a case study of innovation . in :
( 1983a ) the blattnerphone : an early attempt to introduce magnetic recording into the film industry . in :
with the headline : critic ' s notebook ; a forgotten voice from the fatalistic world of film noir .
see especially ch . 12 , conclusion : considers the new fields of social usefulness opened to the motion picture by the sound film .
pantomime as the true cinematic technique . deems the silent film of being capable of suggesting sound ; citing the pantomimic howling of dogs in nanook of the north .
categories of film sound : speech , music , and noise ; realistic ( or : diegetic ) vs . nonrealistic ; subjective vs . objective ; parallel vs . contrastive . gives numerous examples .
predicting that the invention of sound leads the movies to dependence on the stage .
diagnosis of the current unpopularity of the talkies with an appeal for the subordination of dialog to the basic visual quality of the screen .
history of the talkies , from the early photographic experiments of auguste le prince and the perfection of sound - on - film by eugene lauste to the emergence of modern vitaphone and other sound - on - film systems .
sound film . in his : film . london : faber & faber 1933 , pp . 201 - 280 .
survey of a discussion in the dutch film periodical
filmliga
in the late 1920 ' s on the introduction of sound in films .
( 1930 ) off to hollywood ? no , the theatre has not yet capitulated to the film . in :
( 1928 ) the sound film : a statement from the u . s . s . r . in :
analyzes the enunciation of sound and image with respect to diegesis . places the film in figurative tradition of impressionism .
you may find a handful of genuine laughs in the big noise , but you will also find moments that make you weep ( i still don ' t think the roach laurel and hardy would intentionally drop a bomb on anyone , even during wartime . ) the supporting cast is instantly forgettable except for the very annoying future tv star bobby blake , but the background music is probably the best of any of their final efforts , and the film ends on a pleasant image of stan playing
mairzy doats
on a concertina while a school of fish dance on top of the water .
a contention by the hungarian director that the future of the sound film depends on the use of story material consistent with sound technique and with accurate representation of american life .
the complete film . in his film as art . berkeley , cal . : university of california press 1957 , pp . 154 - 160 .
extensive description of the development of the sound film in various countries , discussing the technique , the production , and the people . includes extracts from contemporary sources by directors , actors , critics , etc .
observations on the change from silent to sound films through notes on keaton ' s last silent film spite marriage ( 1929 ) and the early sound film laughter ( 1930 ) .
i always enjoy their films . years ago i was in the sons of the dessert . i don ' t mean the film but the club . brings back fond memories .
account of the writer ' s intellectual experiences and reactions during a screening of the jazz singer ; with vitriolic and devastating generalizations on the sound film .
another of the infamous
fox laurel & hardy
latter comedies , and in the running for one of the most enjoyable of the bunch in my book . here , the older but no less amusing duo are hired to guard a bomb christened
the big noise
by its zany inventor . some old tried and true classic funny routines are trotted out and revamped , with generally satisfactory results . stan and ollie seem like their old selves again in this , thankfully getting more screen time together .
future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .
( 1933 ) towards true cinema : film - form the question of sound . in :
( 1930 ) on behalf of the silent film . in oliver m . saylor ' s
( 1985 ) the liberation of echo : a new hearing for film sound . in :
( 1976 ) highlights of the history of sound recording on film in europe . in :
sound as integral part of the film . general principles that govern the use of sound in film are similar to those applying in the case of the images : economy , restraint , appropriateness , variety , variation from reality . art lies in creating a coherent , expressive world of sound in film terms .
report of the hollywood symposium
film sound in the 80s or how to make your audience sit up and listen
.
interview . g . believes that the talkies will not entirely supplant the silent film . based on the adaptation of g ' s escape ( 1930 ) .
manifesto on the necessity for asynchronism and counterpoint in sound film , in accord with montage theory .
defends pantomime as a universal and international medium and ridicules the imperfections in current sound film technique .
descussion of the work done by john williams for film sound tracks , including earthquake and jaws .
sound engineer f . l . on the creative impact of film sound on aesthetics and realism .
review of the history of film technology , situating it within aesthetic , ideological and economic contexts .
emphasizes the film ' s clarity and simplicity , every sound ' s irreducible concreteness and efficacy .
( 1934 ) manifesto : dialogue on sound . its proper use in the film . in :
these later films of laureo and hardy were when they left hal roach and was near their careers end but they still were funny and it shows in these films especially jitterbugs , so in these films its the 40s but the teams comedy still shines as it did in the 30s as in great guns stan has some funny moments as they join the war and in the big noise they get caught up in a incident involving bomb which gives the film some thi gs we havent seen in laurel and hardy before , jitterbugs is the most original oug of the two and is one of laurel and hardys best films and has stan in a halarious scene involving rum .
r . p . , supervising sound mixer on earthquake , talks of the monumental job of mixing the sound for this film .
technological developments , in pursuit of ever - higher quality of sound , from 1918 ( german tri - ergon group ) to the dolby - noise reduction system ( 1973 ) and the hue - modulated color - photographic sound track .
summarizes the effects of the sound revolution on the fortunes of silent - screen and stage actors .
nostalgic comparison between the intimate qualities of the music - hall stage and the new talking picture .
this is just an ok film . l and h fans will be more tolerant . those unaccustomed to the pair should watch a better entry . the boys were starting to age in 1944 and the physical hijinks suffered . there are funny scenes , though , of l and h trying to relax in a bedroom with beds that come out of the walls and tables that rise out of the floor . a scene where the pair eats food in pill form is flat and unfunny , though .
discussion of the techniques employed by a . s . for the dune sound effects and what brought him to work on the film at this point in his career .
stresses the primacy of speech in the sound - film revolution . it is the dramaturgy of voices that largely determined the evolution of classical cutting in the 1930s and other aspects of filmic narrative and sytyle through the 1950s . analyzing filmic articulation into theree
zones
: perception / identification ; film as discourse ; speech in films .
ampex factbook 1970
this factbook gives details on the company from 1944 to 1969 . it was published by ampex corporation in 1970 , and tells about the corporation , the divisions and subsidiaries , the principal technologies , historical highlights and product development , financial record , personnel growth , management , facilities , and field offices . it is a searchable pdf file .
( 1971 ) film - sound - space : the oss ( optical sound synthesizer ) . in :
how the gpo , in acquiring film sound technology , has eliminated
economic and ideologic overheads
.
the film work of duras offers the paradox of making the voice the means of writing , thus reintroducing , according to the derridean project , writing into speech
. detailed analysis of the openeing sequences of india song , whose disjunctions and resistances
organize the film into a ' scene of writing ' particularly suited to provoking an investigation which returns to theory itself
.
doubts the utility of sound for intensification of the interelationship of time , consciousness , and the subconscious .
on the pre - production of the sound track of george stevens ' a place in the sun .
eventually laurel and hardy take off with the bomb with the crooks in hot pursuit . incredibly , the whole shebang ends in the ocean !
attributes the rise of animated sound cartoon , the renewed popularity of mack sennett ' s comedies , and the revival of the western and serial genres to the rebellion of child audiences against the overemphasis on dialogue .
business history . see chs . 17 and 18 , 1931 - ed . pp . 362 - 387 , 388 - 405 . ch . 17 ,
talkies
, gives an account of the advent of the sound film in 1926 ; outlines the confused status of the numerous sound patents on the market ; also details the financial plight of the warner bros . company . ch . 18 ,
sound and fury
, describes the far - reaching effcts of the establishment of sound on the film industry ; chronicles the formation of the rko , paramount - publix , and mgm organizations ; the changes in studio operation and equipment ; and the effect of the talkies on the stars of the silent era , and on musicians .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
poses the problem of integrating the best visual and narrative qualities of the silent cinema with music and dialogue .
postulating pantomime as the essence of the medium and analyzing chaplin ' s success in support of the contention .
the film ' s spoken text has three functions : emotive stimulation , integration of action with setting , and expository supplementation of the visual image .
the
complete
film , toward which sound , color , wide - screen , and 3 - d strive , runs counter to film ' s formative ( artistic ) tendency .
( 1980 ) the european influence on the coming of sound to the american film , 1925 - 1940 : a survey . in : cameron 1980 , pp . 136 - 180 .
interview on r . l . ' s work as a sound technician at the national film board of canada .
part one : opinions of 35 directors on the significance of sound in film experience . part two : on the significance of sound for filmic expression .
the film traces
a trajectory that corresponds in psychoanalysis to the child ' s transition from auto - eroticism to narcissistic identification with an other
.
also , veda ann borg overacts as a chunky matron who has eyes for ollie . one trivia bit in the film is that stan , on his accordion , played the popular song
maisey doats .
according to the film ' s press book , the pair deliberately cut back on wasteful gags to help with the wwii effort .
on the increasing importance of the musical director created by the coming of sound . also discusses changes in acting .
reveals the unusual and technical exacting requirements imposed by the sound effects in rko ' s the silver strike ( 1934 ) and the resulting synchronization of six separate recordings on the sound track .
a new standard volume indicator and reference level , ( 1940 ) by chinn , gannett , and morris . the classic ire paper on the development of the
vu meter
. includes the history of volume indicators , the engineering factors in designing the meter , and the text of the original standard .
carries montage theory over into sound film , beginning necessary
analysis of the nature of audio - visual phenomena
, including the concept of vertical montage .
[ span . : ] un film sonoro , un film musical , un film hablado : estudio de los subcódigos de la bande sonora . in : video - forum , 9 , dec . 1980 , pp . 69 - 127 .
suggestions of the dramatic and aesthetic possibilities of sound ; acoustic fading ; inscribing sound directly on the track ; modifications of the visual fade - out to meet the demands of the sound track .
the boys made a handfull of films after parting company with hal roach . which one do you think is the worst ? select the button next to the film of your choice , then select the
cast your vote
button at the bottom . remember , every vote counts but please only vote once .
( 1980 ) film form / voice - over : bresson ' s the diary of a country priest . in :
includes chapters on
the addition of sound
,
sound film processing
, and
sound reproduction
.
what factors determined the specific forms of the talking film ? interrelationships of economic and ideological determinations ( e . g . hollywood ' s response to the crash with escapist musicals , and social problem films whose bourgeois humanist ideology recuperates
problems
) . speech in film ensures and reinforces idea of individual as hero of the fiction . the space of continuity editing is the space of dialogue .
discusses the prevalence of dubbing singers and doubling dancers during the 40 ' s with special emphasis on the jolson story .
( 1976 ) problems in film history : how fox innovated sound . in :
rev . in : epd film , 12 , 1985 , p . 16 .
when the duo are in the hi - tech bedroom , and ollie rides the bed back out of the wall , the following sequences show that the rotating table is first clear , then has the pipe and magnifying glass back on it , then is clear again , and then has the chairs re - arranged .
analysis of some short films using vitaphone sound , 1926 - 1927 ; the films are seen as responding to the separate conditions within their domain as well as to historical , technological , and formal developments in the field of the feature film .
stresses the necessity for the complete integration of sound and image in talking films .
discusses the art and technology behind the brainstorm sound design created by frank serafine .
. 1964 , 224 pp . ( the technique of the movies . ) .
( 1977 ) the development of sound systems : the commercial era . in :
an experimental study of the measurement of auditory manifestations of stage fright by means of rating scale and film sound track technique .
( 1979 ) the coming of sound to the american cinema : a history of the transformation of an industry . in :
the film was later reworked into the plot of brooklyn orchid , one of hal roach ' s streamliners , made in 1942 and starring william bendix and joe sawyer .
capsule summary of technological developments ( e . g . , magnetic recording , multiple - channel , dolby ) in sound film subsequent to 1927 , to stress the separation of production of sound and image tracks , and the constructed nature of film sound .
aes celebrates 60th anniversary presents oral history to complement the written history below in
how the aes began
and
histories of the founding of the aes
.
an anthology from the pages the the
journal of the smpte
. berkeley , cal . / los angeles , cal . : university of california press 1967 .
they wanted to make a big noise and break windows , which they did every time they mentioned ulmer ' s name . it seemed like a joke and , to a certain extent , it was . americans didn ' t need to see any of ulmer ' s films to have an opinion about his work . a selective listing of his credits could induce dangerously loud laughter :
girls in chains ,
jive junction
and
the man from planet x ,
among others .
seven lectures on the technique and history of sound films ( beginning with the herschel - fitten thaumatrope in 1820 ) . contains a chapter contrasting the technique and aesthetic potentialities of the sound cinema with the mechanics of the stage . includes a comprehensive bibliography .
( 1986 ) der voice - over als subjektivisierende erzählstruktur des film noir . in :
, 13 , 1965 : special issue
die rolle des worts im film
.
( 1973 ) für eine funktion des tons im film ( 1967 ) . in :
( 1995 ) ton , film und polyphone ethnographie . erfahrungen aus hamar . in :
words and moving images : essays on verbal and visual expression in film and television .
[ excerpt : ] theory of the film : sound . in : weis & belton 1985 , pp . 116 - 125 .
( 1985 ) the technology and aesthetics of film sound . in : weis & belton 1985 , pp . 63 - 72 .
check out highlights from some of the best recent trailers including mandy , the predator , zoe , and the king of thieves .
( 1928 ) the reaction of the public to motion pictures with sound . in :
on syberberg ' s parsifal and the problems of dubbing the singers of opera films .
on the increasing importance and developments in the use of audio equipment for sound tracks .
in film production
dubbing
generally refers to audio material recorded after the shooting of the scene ( either because a line was poorly recorded originally due to extraneous noise on location , or because it ' s being dubbed into another language ) . in classic musicals , the numbers were pre - recorded ( i . e . recorded beforehand ) . then , during shooting the actors / singers would lip - sync to them . ( see the
lose that long face
number in the restored garland a star is born - - it demonstrates this technique . )
see esp . sect . i , ch . 3 ,
development of the dialogue film
, and sect . i , ch . 4 ,
the problem of universal appeal
( on the barrier of language and the production of multilingual films ) .
digital audio engineering standardization history at the aes : the history of the development of the aes digital audio standards , as given in the aes journal minutes and reports of the digital audio standards and technical committees between 1977 and 1984 , and in bart locanthi ' s 1986 summary of the committees ' work .
outlines the film ' s
tactical innovations
and their relationships to the traditions of radio drama . valuable discussion of principles of constructing acoustic space as developed in radio drama .
sound engineer t . p . discusses the conventionality of sound as a dimension in film ; also on
invisible
sound editing .
the story of the part played by warner bros . in bringing the sound film to the screen . see esp . pt . iii ,
production
, discussing the problems of adapting sound engineering to theatrical needs , and describing vitaphone ' s first sound stage ; on the emergence of spoken dialogue as a departure from musical recordings . see also pt . iv on
the talkie boom
.
praises idiosyncrasies of the voice . point is not to imitate codified techniques but to find the unique sound appropriate to the cinematic moment .
condemns the talkie ' s servile imitation of the stage and advocates terse dialog , improved synchronization , and the proper utilization of silence .
enquiry into muteness in the cinema . part of the article is given to a study of the mime in les enfants du paradise .
repr . : the soundtrack of the rules of the game . in : weis & belton 1985 , pp . 312 - 322 .
criticism of the primitive state of the talkies - imperfectness of timing and synchronization , mediocrity of dialogue , actors unaccustomed to the medium .
( 1927 ) silence : a dissertation on the virtues of silence and its indispensability to the art of the moving picture . in :
( 1983 ) tense , mood and voice in film . notes after genette . in :
( 1979 ) a few aspects on sound history and history sound in film . in :
on a new film made in ussr using images of varying sizes and also stereophonic sound .
another reason was that a pre - recorded song eliminated any unwanted background noise from the location - - it gave a
clean
recording . example : a scene with a waterfall in the background - - if the song were recorded
live
( on location during photography ) the waterfall would compete with the voice . pre - recording a
clean
musical track and lip - syncing to it on location meant that there was no waterfall sound competing with the song . then , during mixing , the sound of a waterfall would be added - - with the benefit that the filmmakers now have total control over the waterfall because it is added later as a sound effect .
with speculations on the propagation , by the talkie , of english as a world language .
presents the editing of synchronized sound and action as a problem in the coordination of rhythms .
articles on the effect which the coming of sound had upon styles , acting , etc .
( 1982 ) structures of sound and image in the rules of the game . in :
demonstrates via historical and phenomenological arguments that sound is necessary to film , an integral part of the image . philosophical commentary on audiovisual representation .
( 1929 ) . laurel requested that the setting be changed to a turbulent plane , but producer sol wurtzel refused to accommodate him . at the end of the scene , you can hear the camera crew laughing in the background .
when laurel goes to turn off the light and accidentally sends hardy ' s bed into its hiding space in the wall , laurel ' s pipe and magnifying glass are on the table . laurel panics and begins pushing buttons . when he hits the button that spins the table into the floor , you can see the pipe and magnifying glass go flying . when the table returns , you can see they are still not on the table . but when hardy ' s bed comes back out of the wall and hardy falls from the bed , as the camera follows him , the table can be seen and the pipe and magnifying glass are sitting there .
[ rev . version : ] the coming of sound : technological change in the american film industry . in : weis & belton 1985 , pp . 5 - 24 . also in the second ed . of ballio ' s book .
regrets the triumph of the sound - track over the picture (
imperialism of spoken discourse
) and traces the development of this phenomenon . with reference to hitchcock ' s blackmail .
truffaut and his friends were promoting their politiques des auteurs approach to film criticism , a theory that dictated , among other things , that a film could be properly understood only if seen in relation to the director ' s entire work . the cahiers people were then in the bomb - throwing phase of their anti - establishment activism .
analysis of the potential aesthetic contributions of the sound film , defined as an independent form based on its own peculiar technique and incapable of reproduction in another medium . traces the origin of synchronized sound to the onomatopoetic musical scores of silent films , particularly to edmund meisel ' s compositions .
reviewed by john fell in : film quarterly 36 , 4 , 1983 , p . 60 .
sound motion pictures , recording and reproducing . with chapters on motion picture studio and film laboratory practice
( 1976 ) projet pour une sémiologie des relations audio - visuelles dans le film . in :
( 1939 ) some accomplishments of eugene augustin lauste - pioneer sound - film inventor . in :
( 1930 ) der film als forschungsmittel der technik . in : petersen 1930 , 20 pp .
london / basingstoke : macmillan ; london : british film institute 1985 , xi , 171 pp .
( 1990 ) lektüre des audiovisuellen . film und fernsehen als gegenstände einer erweiterten theaterwissenschaft . in :
rev . in : film quarterly 42 , 3 , 1989 , pp . 50 - 52 .
film - musik - musikbeschreibung . zur grundlage einer filmsemiotik in der wahrnehmung von geräusch und musik .
münster : maks publikationen 1994 , 309 s . ( film - und fernsehwissenschaftliche arbeiten . ) .
the double bill of
detour
and
the narrow margin
begins the film forum 2 ' s midsummer treat , a six - week retrospective titled
somewhere in the night : the auteur side of film noir .
it ' s not surprising that
detour
was also on the bill last week when the cinematographe opened its retrospective
film noir ,
which runs through july 23 . there ' s no need to know
girls in chains
or
jive junction
to be astonished by the merciless vision of the ulmer classic .
detour ,
which reportedly took six days to shoot and cost $ 30 , 000 , speaks for itself in its alternately laconic and gabby way .
repr . as history of the american film industry from its beginnings to 1931 . ed . by richard griffith . new york : dover 1970 .
attack on robert e . sherwood ' s commendation of the sound film . based on theories of münsterberg , faure , pudovkin , and eisenstein .
what , exactly , is film noir ? in recent years the term has been used more and more loosely until it ' s now being applied even to color films . even though the term ' s root remains fuzzy ,
noir - ish
is sometimes used as a modifier for any film whose characters are even faintly antisocial . my own unreliable criterion : if the cast includes claire trevor , marie windsor , evelyn keyes or gloria grahame , then the film is noir .
for reasons not easily explained , the existence of a
detour
remake seems absolutely in keeping with the whole film noir ethos - - sad , hustling and sinfully entertaining . where and when
analysis of the film ' s reflexive aural techniques and audiovisual editing . vertov ' s concept of audiovisual montage is more radical and subtle than eisenstein ' s . he invokes the
radio - ear
to break the spell of illusionism .
this site and its links - - use the search box at the top of this page .
sound engineer françois musy talks about the technical and aesthetical problems creating the track for prénom carmen .
early guide to the practical management of sound films from the projectionist ' s point of view .
( 1976 ) the coming of the talkies : invention , innovation , and diffusion . in :
the development of the tri - ergon system ; stages of invention , innovation , and diffusion .
( 1974 ) the art of the sound editor : an interview with walter murch . in :
statement on the sound film . in eisenstein ' s film form . new york : harcourt , brace 1949 , pp . 257 - 260 . repr . new york : dobson 1963 . other ed . : new york : meridian books 1957 .
twelve points related to the
bias against sound thinking
; enumerating levels on which this bias operates ( ideological , perceptual , textual , terminological , film - historical ) ; overviewing 1970s critical and theoretical writing on film sound . includes bibliography .
film noir is an elastic term . according to the film forum 2 , it can be applied to two exceptionally rich - looking films : orson welles ' s
lady from shanghai
( 1948 ) and charles vidor ' s
gilda
( 1946 ) , which are being shown on a double bill aug . 7 to 9 . the film noir seediness in each is almost entirely internalized , evident only in the lust , greed and other delightfully base motives that drive the characters .
interview with h . g . wells who registers his skepticism concerning the value of spoken dialogue . includes references to his pioneering film work with the inventor , robert w . paul , in 1895 .
. new york : film and sprockets society of the ccny art department 1937 , pp . 20 - 24 ( publication no . 1 . ) .
summarizes presentations at fall 1983 conference in birmingham on
sound cinema
, focusing on semiotics of film sound and the positioning of auditor / spectator .
it still isn ' t a great film . but it is a hell of a lot better than
vorschlag für eine serie kurzspielfilme . in : film - kurier , 108 , 9 . mai 1931 .
schriften zum film . 2 . der geist des films . artikel und aufsätze , 1926 - 1931 .
ms . [ north ryde : ] australian film and television school [ 1984 ] , 25 pp .
. münster : maks publikationen 1987 , 310 pp . ( film - und fernsehwissenschaftliche arbeiten . ) .
interview . excessive stress on dialogue renders the film slow and non - dynamic . asserts that the uses of silence , expressive sounds of nature , integral music , and the combination of visible and audible montage are problems receiving careful consideration in soviet cinema .
this article is issued from wikipedia - version of the 3 / 7 / 2016 . the text is available under the creative commons attribution / share alike but additional terms may apply for the media files .
deals with the necessity of translation of films and analyses the process , both with subtitles and dubbing .
outline history of the technical development of the cinema concerning a camera which records both vision and sound .
( 1974 ) the taking of pelham 123 : the great train robbery acid sound trip . in :
analysis of the soundtrack ; music ; psychology of the seeing - hearing relationship . noises are primary .
[ sections on sound : ] film style and technology in the thirties : sound . in : weis & belton 1985 , pp . 37 - 43 .
, works well , with jack norton filling in nicely for what would have been an arthur houseman role back in the roach days . other borrowed bits also play well , and for the first time in what seems like ages , babe is back to doing reactions straight into the camera throughout the whole film .
( 1985 ) the felicity of ideology : speech - acts and the
happy - ending
in american films of the 1940 ' s . in :
( 1938 ) das problem des plastischen tons im film . vortrag vor der deutschen kinotechnischen gesellschaft . in :
[ engl . : ] theory of the film . character and growth of a new art . new york : dover 1970 , pp . 194 - 241 .
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a survey of the artistic possibilities inherent in three methodologies of synchronization : literal , unedited recording ; the purposeful control of sound , allowing the cinematic form greater freedom ; and the use of sound as expressionist accompaniment of visual images , as developed by the russian school .
al jols on and the jazz singer ; douglas fairbank ' s use of sound in the iron mask ( 1929 ) ; and the fox comedies and newsreels .
( 1978 ) the sounds of silence and things that go
flash
in the night . in :
emphasizes the necessity of limiting oral commentary in instructional films to informative briefs which stress action and advance continuity without distracting attention from the visual image . discusses the advantages of precise synchronization of word and image as opposed to timing which permits the sound track to anticipate the picture .
analysis of authority of tense , voice - over , images ; relationships among the film ' s dramatic
i
, narrative
i
, and camera .
sous les toits de paris has unusual sound hierarchy - music , speech , noise - which is upset only during climax in the narrative . critical terminology for sound space needs to include
off - track - sound
to parallel off - screen visual space . analysis of clair ' s use of spatial dimensions of sound and speech .
now new yorkers have a chance to judge for themselves what ulmer is all about .
detour
( 1945 ) , the vienna - born director ' s 68 - minute chef - d ' oeuvre , opens a five - day run today at the film forum 2 on a bill with richard fleischer ' s
narrow margin
( 1952 ) . the good news :
detour
really is some kind of great movie , not a masterpiece , but one of the defining films of the seductive genre the french critics called film noir .
linda loredo , who plays mrs . laurel , had appeared in several foreign - language versions of several previous short films . this was her only part in an english language laurel and hardy film . she died of peritonitis shortly after the film ' s completion at age 24 .
studies the ways in which the complex events of the coming of sound affected production practices of the independent hollywood production companies ( known as
poverty row
,
indies
, or
quickie productions
) .
defines sound montage as the interaction of simultaneous visual and aural images , deriving its peculiar quality from the concreteness of the picture and the generalized quality of the sound . finds the capacity of sound for evoking mnemonic images , termed
aural flash - backs
, more effective than visual flash - backs , citing the music in a nous la liberté ( 1931 ) as an example .
. new york / london : routledge 1992 , vi , 290 pp . ( afi film readers . ) .
( 1979 ) semiotics
ante litteram
: notes on pirandello ' s reactions to sound film . in :
review of yale franch studies , 60 , 1980 ( = spec . issue on
film sound
) .
sound and microphone characteristics ; sound balance for speech and music ; film sound editing ; etc . includes glossary .
special section : articles and interviews on dutch cinema in the 1930 ' s on the occasion of the festival and exhibition
berlijn - amsterdam 1920 - 1940
.
discusses flaubert ' s
cinematic
use of aural imagery . compares the complex function of sound in madame bovary to the device of the soundtrack in motion pictures .
the classic and usual technique was to pre - record all the songs before actual production of the film . this was done for several reasons , the main one being that during a musical number people are typically moving around a great deal , and if it were recorded with a boom ( overhead ) microphone during shooting , the distance between the singer - - usually doing some sort of dance moves - - and the microphone would constantly vary , creating a vocal track that
comes and goes .
in a piece about fritz lang ' s
you only live once
( 1937 ) , truffaut once wrote that everyone in it
is both criminal and victim .
that ' s another serviceable definition . think of walter neff ( fred macmurray ) and phyllis dietrichson ( barbara stanwyck ) , the double - crossing lovers in billy wilder ' s matchless
double indemnity
( 1944 ) , which is in neither of these retrospectives .
and many claims of
firsts
have sprung from the mists of time . this article seeks to set the
sound man n . b . discusses the work of the boom operator and his relationship to director and cameraman .
can films still be international after the coming of sound ? see weinberg ' s comment in the same issue .
if they tried ( and they did - - a time or two ) to record the number live , not only would they have a heck of a time trying to follow the actor around the stage with a mic , and have to have an orchestra present , but the pacing of the song would invariably vary ever so slightly from take to take . then , if this happens , the film editor has a heck of a time assembling the final edited song , because for an editor everything must match and that includes the pacing of a musical number . by lip - syncing to a pre - recorded track , the pacing of the musical number stays exactly the same from take to take and shot to shot , so that in the editing room everything can fall properly into sync .
francis ford coppola / the godfather combs , richard . “coppola’s family plot : the godfather variations . ” film comment 38 . 2 ( 2002 ) : 38 - 44 . ferraro , thomas j . “blood in the marketplace : the business of family in the godfather narratives . ” the invention of ethnicity . ed . werner sollors . new york : oxford university press , 1989 . 176 - 208 . phillips , gene . godfather : the intimate francis ford coppola . lexington : university press of kentucky , 2004 .
it ' s possible that one of the reasons
detour
works so well is the almost complete absence of other people . extras appear in some scenes , but most of the time the world looks abandoned , if not quite empty . the moral system is so rotten that al feels guilty when he should be shaking his fist at god , or maybe a policeman . although this is quintessential film noir , the landscapes are mostly shades of pale gray .
following a historical section on the technological and economic domination by the united states ( paramount ) and germany ( tobis ) of early french sound film production , analyzes the seminal influences of renoir ' s naturalism ( la chienne ) and grémillon ' s poetic realism ( la petite lise ) .
( 1933a ) asynchronism as a principle of sound film . in : pudovkin 1933 , pp . 155 - 165 .
( 1933b ) rhythmic problems in my first sound film . in : pudovkin 1933 , pp . 166 - 174 .
errata and addenda in : film comment 14 , 6 , nov . - dec . 1978 , p . 79 .
the squalor and hopelessnes of the lives it depicts are perfectly reflected in the financially pinched physical production . ulmer can persuade the audience that al and sue are walking up riverside drive late at night with the help of a fog machine and the periodic sightings of lampposts . there are a few location shots , photographed just outside hollywood , but most of the exteriors were done in a studio with rear projection .
as a sort of postscript to the ulmer film , and to neal ' s career ( he died 18 months after his release from prison ) , the film forum 2 will present a three - day run ( july 31 to aug . 2 ) of wade williams ' s brand - new remake of
detour ,
starring tom neal jr .
there is also something incredibly romantic both about the extreme degree of fatalism expressed in much film noir , and about their doomed heroes , who would not get themselves in the dreadful fixes they do without some kind of fatally romantic flaw .
( 1988 ) the pursuit of sound : radio , perception , and utopia in the early 20th century . in :
( 1983 ) researching and restoring pioneer talking pictures : the 70th anniversary of the theatrical release of kinetophone . in :
( 1989 ) on the track of the vitaphone short . in : bandy 1989 , pp . 35 - 41 .
that was the usual response when , in the late 1950 ' s and early 1960 ' s , francois truffaut , jean - luc godard and their cahiers du cinema associates would cite edgar g . ulmer as one of the hollywood masters who had been cruelly neglected , not only by the major companies but also by the american critics and the public .
the programs at both theaters are primarily devoted to movies that seldom turn up on television or in the video stores , and that demonstrate the enduring vitality of the mostly modest - budget melodramas regarded in their own day as b pictures .
alan crosland / the jazz singer carringer , robert l . the jazz singer . madison : university of wisconsin press , 1979 . knapp , jeffrey . “‘sacred songs popular prices’ : secularization in the jazz singer . ” critical inquiry 34 . 2 ( 2008 ) : 313 - 335 . rogin , michael . “blackface , white noise : the jewish jazz singer finds his voice . ” critical inquiry 18 . 3 ( 1992 ) : 417 - 453 . rosenberg , joel . “what you ain’t heard yet : the languages of the jazz singer . ” prooftexts : a journal of jewish literary history 22 . 1 - 2 ( 2002 ) : 11 - 54 .
sergei eisenstein / battleship potemkin eisenstein , sergei . film form : essays in film theory and the film sense . new york : meridian , 1957 . minden , michael . “politics and the silent cinema : the cabinet of dr . caligari and battleship potemkin . ” visions and blueprints : avant - garde culture and radical politics in early twentieth - century europe . ed . edward timms . manchester : manchester university press , 1988 . 287 - 306 . nichols , bill . “ battleship potemkin ( 1926 ) : film form and revolution . ” film analysis : a norton reader . ed . jeffrey geiger . new york : w . w . norton , 2005 . 158 - 177 . wenden , d . j . “ battleship potemkin : film and reality . ” feature films as history . ed . k . r . m . short . london : helm , 1981 . 37 - 61 .
reprints from the french ciné - magazine , nos . 4 - 5 , 1930 . includes articles on stars of yesterday , the paramount cinema in paris , by chaplin , impressions from a film trip to america ( by maurice bessy ) and an article on the
new phenomenon of sound
.


the heroes , also known as the shaolin heroes , is a 1980 hong kong martial arts film directed by wu ma and pao hsueh li and starring ti lung , shih szu and danny lee .

the heroes ( 1980 film )

stills from the 1980 film fade to black starring dennis christopher with theme song
heroes
used in the film which was performed by marsha hunt ( music by craig safan ) .
this week , we count down our top 10 marvel heroes to debut during the 1980’s . have your own thoughts ? let us know on twitter using the hash tag # marvel75 !
number of refugees accepted into the u . s . falls below the rest of the world combined for the first time since 1980
the majority of the teaser seemed to show rey being trained by luke , just as he was on dagobah in the 1980 sequel .
man behind the beard : clint eastwood . film : the good , the bad and the ugly ( 1967 )
in the 2014 film , the theme song was referenced via the honking of the turtle van ' s horn .
today sits down with the cast of “9 to 5
in december 1980 to chat about the way their roles reflect their personalities off - screen .
' and as a lot of people know , it’s difficult when you meet your heroes because it might not be what you expect . '
through it all , the wasp’s stalwart determination has made her one of the greatest marvel heroes . find out more about her astonishing adventures with these essential reads .
explosive martial arts film the raid recently reignited our love for the genre , so we’ve celebrated by honouring history’s most electric screen fighters . shortlist ’s michael hogan reveres the film stars who don’t require cgi to deliver visceral thrills .
another former film producer alan pakula directed liza minnelli in her second film role in the sterile cuckoo ( 1969 ) a poignant , oddball comedy / drama about a neurotic and eccentric college student named pookie adams .
mysterious heroes centers around lau tien , master of the deadly 13 - sword style . action - packed martial arts chaos ensues when the enemies of the original lau tien vow to destroy his successor .
man behind the beard : chia hui liu film : kill bill vol . 1 & 2 ( 2003 - 2004 )
the lyric is clearly
cool but crude
in the cover used in teenage mutant ninja turtles : out of the shadows ( film ) .
man behind the beard : laurence tureaud a . k . a . mr . t film : rocky iii ( 1982 )
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
mark christopher , a professor at chapman university’s dodge college of film and media arts , told the deseret news , without a soundtrack , a film is missing a chunk of its story . nostalgia always serves to bring in a larger audience .
“in a film that’s taking place in the future , that need to also reference the past is important to orient the audience , ” sinwell said .
“soundtracks can help get people into the film . when people can buy a soundtrack with songs they like , it helps drive interest in the film . a song you adore , set against new visuals , can be very powerful in storytelling , ” williams told the deseret news .
heroes shed no tears showcases the everything i loved about yuen chor ' s the sentimental swordsman , from the elaborate use of the shaw bros . studio sets , gorgeously framed shots , and layered ( but comprehensible ) plot lines with plenty of twists and betrayals . despite the dense cast and numerous moving pieces , the tale feels tight and well plotted , pitting characters against each other at the ploy of a clever and ambitious villain . this is yet another deeply romanticized film with larger than life characters and stunning imagery . the swordplay is wonderfully choreographed , and the film features a beautiful theme song and some lovely dances . simply an excellent film in every regard .
ajay devgn is an indian film actor , director , and producer . he made his film debut with phool aur kaante in 1991 and received a filmfare award for best male debut for his performance in the film . he then starred in films such as jigar ( 1992 ) , dilwale ( 1994 ) , suhaag ( 1994 ) , naajayaz ( 1995 ) , diljale . . .
it actually sounds a lot more like the riff to john mellencamp ' s
hurts so good
. in fact , some listeners born after about 1980 might hear
hurts so good
nowadays and
the cheaper cost of on - location filming ( using cinemobiles or film studios on wheels ) encouraged more location shoots , or filming in rented production facilities . faster film stock , lightweight cinematographic equipment , and the influence of the cinema vérité movement brought less formal styles to american productions . the functions of film makers were beginning to merge - there were actor - producers , director - producers , writer - producers , actor - writers , and more .
the music is another character in the
guardians of the galaxy
film world . sarah sinwell , associate professor in the film department at the university of utah , said pop music soundtracks have been making a significant comeback in recent years , both because of nostalgia in films like
guardians of the galaxy ,
and shifting marketing strategies .
as a footnote to the decade , director alfred hitchcock ( without ever winning a best director oscar ) returned to england after his disappointing films torn curtain ( 1966 ) and topaz ( 1969 ) to make his first british film in almost two decades - frenzy ( 1972 ) . his first hollywood film had been rebecca ( 1940 ) , and his last film was in this decade - the lightweight thriller family plot ( 1976 ) .
one film - related industry that side - benefited from the development of the vcr was the pornography industry - no longer would adult - movie viewers have to visit seedy x - rated film theatres to view porn films , and this resulted in sky - rocketing profits from the sales and rentals of x - rated vcr videotapes . another side result was that independent film - makers and producers could now market their films more effectively by distributing tapes and discs for viewing .
an informative and brief register that shed light on the spectacular rise of action movies in the 1980 ' s ; the reasons behind its huge demand in that period ; the movies that redefined the genre and the famous action stars who conquered audiences , some critics and the box - office with their larger than life pictures . directors , actors and historians debate the reasons why audiences embraced the action films in that decade and the importance those films would have in popular culture and in the film industry in the following decades .
although the budget for jaws grew from $ 4 million to $ 9 million during production , it became the highest grossing film in history - until star wars . both jaws and star wars were the first films to earn more than $ 100 million in rentals . [ the average ticket price for a film in 1971 was $ 1 . 65 , and by 1978 cost about two and a half dollars in first - run theatres . second - run film theatres could charge less and often dropped their admission price to $ 1 . 00 . the average film budget by 1978 was about $ 5 million - increasing dramatically to $ 11 million by 1980 due to inflation and rising costs . therefore , production of hollywood films decreased precipitously in the late 70s , e . g . , down to 354 releases in 1978 compared to the previous year ' s total of 560 . ]
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
ajith kumar is an indian film actor who has worked mainly in tamil cinema . he is one of the leading actors in tamil cinema . he began his career as a supporting actor in a telugu film before gaining critical recognition in the tamil thriller aasai ( 1995 ) . a succession of high - grossing films followed . . .
elastica got into trouble over the glaring similarities of their early single
connection
to wire ' s
three - girl rumba
, and the album track
waking up
to the stranglers '
no more heroes
. money was reportedly handed over to settle lawsuits .
vijay was born to a famous tamil film producer and director s . a . chandrasekhar . his career geared up when he acted in ghilli , one of the biggest blockbuster in tamilnadu . he has won awards such as the tamil nadu state film award for best actor and dinakaran best actor award . vijay was given an . . .
this telugu star was a student at the madras film institute and an amateur stage actor . his first public performance was in the republic day parade ballet of andra pradesh on 26 january , 1976 . his film debut was punadhirallu ( 1978 ) . his brother - in - law is producer allu aravind . his success started . . .
in honor of this special holiday , the urltoken team looked northward to assemble a list of super heroes who got their start in canada before branching out across the world and the universe at - large . from wolvie to ‘squatch , these are the greatest super - powered canucks in all of mighty marveldom !
chris hemsworth kicks off filming for the star - studded men in black spin - off as he cuts a sharp figure in london . . . 21 years after the first film hit screens
in 1976 , paramount became the first to authorize the release of its film library onto betamax videocassettes . in 1977 , 20th century fox would follow suit , and begin releasing its films on videotape
“the director is selling the soundtrack just as much as they are selling the film . it is all part of the merchandising , to target those audiences that will be drawn to this kind of music , ” sinwell said .
this issue has everything and everyone . iron man , thor , hulk , and the fantastic four , work with ant - man and the wasp , all trying to thwart loki’s tricks . in the end , our heroes are successful , prompting wasp to suggest they work together as a team and call themselves…the avengers .
the previous album
awesome mix vol . 1 ,
from the first film , focused largely on the music of the 1970s and 1980s , and included the hits “hooked on a feeling” by blue swede and “i want you back” by the jackson 5 .
born in south mumbai , kapoor is the second son of film director and actor raj kapoor . he did his schooling with his brothers at campion school , mumbai . his brothers are well - known actors , randhir kapoor and rajiv kapoor . rishi kapoor debuted in his father ' s 1970 film mera naam joker , playing his . . .
this low - budget , exploitative , and successful film company , founded in the mid - 50s ( and first named american releasing corporation ) , was largely responsible for the wave of independently - produced films of varying qualities that lasted into the decade of the 70s . the studio ' s executive producers were james nicholson and samuel arkoff , while its most notable and successful film producer was roger corman . he was one of the most influential film - makers of the 50s and 60s ( he was dubbed the
king of the drive - in and b - movie
) for his production of a crop of low - budget exploitation films at the time .
the second film , a thief in the night being the first , a distant thunder continues the story of patty , a young woman living in the
end times
referred to in biblical prophecy . this action . . . see full summary »
son of well known poet harivansh rai bachchan and teji bachchan . he has a brother named ajitabh . he completed his education from uttar pradesh and moved to bombay to find work as a film star , in vain though , as film - makers preferred someone with a fairer skin , and he was not quite fair enough . but . . .
the counter - culture of the time had influenced hollywood to be freer , to take more risks and to experiment with alternative , young film makers , as old hollywood professionals and old - style moguls died out and a new generation of film makers arose . many of the audiences and movie - makers of the late 60s had seen a glimpse of new possibilities , new story - telling techniques and more meaningful ' artistic ' options , by the influences of various european
new wave
movements ( french and italian ) and the original works of other foreign - language film - makers , and by viewing these surprise hits in the previous decade :
as we continue to celebrate marvel’s 75 th anniversary all year long on marvel . com , we move into the 1980’s , and “marvel’s main event , ” where established characters exploded , often times spinning off in new directions and encountering exciting new friends and foes while attempting to survive tumultuous events .
42 . malcolm in the middle ( they might be giants , “boss of me” ) the johns ( flannsburgh and linnell ) have also written solid theme songs for the daily show , the oblongs , mickey mouse clubhouse and higgly town heroes . but “boss of me” was their broadcast highlight , earning the prolific duo their only grammy win in 2002 . — josh jackson
“in 1981 , just a year after her first appearance , kitty headlined ‘days of future past , ’ a landmark story line from chris claremont and john byrne that practically rewrote the very dna of the x - men saga . it stands not only as one of the most pivotal works of the 1980’s , but continues to influence the topsy turvy timeline to this day .
somayajulu j . v . was born on june 30 , 1928 in india . he was an actor , known for thyagayya ( 1981 ) , shankarabharanam ( 1980 ) and aditya 369 ( 1991 ) . he died on april 27 , 2004 in hyderabad , andhra pradesh , india .
for instance , peter bogdanovich ' s directorial debut was for targets ( 1968 ) , made for aip . and francis ford coppola directed ( and scripted ) corman ' s horror - thriller film dementia 13 ( 1963 ) , coppola ' s first mainstream picture . jack nicholson appeared in a number of early corman movies , including his screen debut in the cry baby killer ( 1958 ) and later a small role in the little shop of horrors ( 1960 ) , about a carnivorous pet plant . one of martin scorsese ' s earliest - directed films ( and his first commercially - conventional film ) was corman ' s boxcar bertha ( 1972 ) with barbara hershey and david carradine as two depression - era outlaw folk heroes . writer / director jonathan demme ' s directorial debut was for corman ' s caged heat ( 1974 ) - - a memorable women - in - prison film with lots of sex , action and violence . and monte hellman ' s two westerns ride in the whirlwind ( 1965 ) and the shooting ( 1967 ) both starred jack nicholson ( who also co - wrote and produced the first film ) .
the pioneering kickboxer , who went undefeated in his pro career from 1974 to 1980 , can only strike with one leg after an injury to his right . his left leg , though , became one of the most feared weapons in fighting , with a deadly accurate hook - kick clocked at 60mph , as seen in the protector ( 1985 ) .
seven years after the release of this song , stevens , now known as yusuf islam , converted to islam , and he ' s become particular about the content his music is associated with . its inclusion here is a significant victory for the film .
“whit stilman chronicled the torrid early 1980’s in his 1998 film ‘the last days of disco . ’ it was into that time of transition and dusky rhinestones that alison blaire first brandished a microphone . originally envisioned at the height of disco’s popularity in the mid - 70’s , dazzler didn’t see her first single and series of duets hit the charts until february of 1980 . pitched as a multi - media tie - in meant to coincide with a flesh - and - blood songstress , the character transcended her origins and original purpose with a level of staying power none could have predicted . as a member of the x - men , excalibur , and even s . h . i . e . l . d . , the ever adaptable pop sensation provides her own pyrotechnics with the mutant ability to reprise sonic vibrations as light emissions . the last scion of disco , once pegged as a potential one - hit wonder , outshone all her critics and continues to serve as the mutant ambassador in the world of glamour and celebrity . ” –
the
so - called
renaissance of hollywood was built upon perfecting some of the traditional film genres of hollywood ' s successful past - with bigger , block - buster dimensions . oftentimes , studios would invest heavily in only a handful of bankrolled films , hoping that one or two would succeed profitably . in the 70s , the once - powerful mgm studios sold off many of its assets , abandoned the film - making business , and diversified into other areas ( mostly hotels and casinos ) .
young viewers and directors , who refused to compromise with mediocre film offerings , supported stretching the boundaries and conventional standards of film even more in this decade . although the 50s and 60s were noted for wide - screen epics on cinemascopic silver screens ( and lighter formulaic , squeaky - clean fare such as pillow talk ( 1959 ) or beach blanket bingo ( 1965 ) ) , the 70s decade was noted for films with creative and memorable subject matter that reflected the questioning spirit and truth of the times .
the synth riff of
get ready
is suspiciously similar to ppk ' s 2001 trance hit
resurection
( itself a remake of the theme from the russian film siberiade ) , while the chorus is a more obvious ripoff of jennifer lopez ' s
waiting for tonight
.
formed by the canadian government , alpha flight instantly became one of the most unique and powerful super teams when they made their debut in 1979’s uncanny x - men # 120 . the roster has frequently evolved , but alpha flight has included guardian , northstar , aurora , sasquatch , shaman , snowbird , as well as marrina , puck , and a host of other canadian heroes as its members throughout the years .
rumor has it this is an original song from the marvel universe . in an interview with rolling stone , director james gunn revealed “guardian’s inferno” was co - written with funny lyrics by gunn and music composer tyler bates , and is meant to play off the disco version of the star wars theme . gunn also revealed that david hasselhoff’s vocals were selected because he was one of quill’s childhood heroes .
ten years after his death , louis malle is the subject of a tribute at facets cinematheque in chicago . the nearly complete retrospective includes films (
au revoir les enfants ,
lacombe , lucien ,
murmur of the heart ,
damage
) that are as good or better than
atlantic city ,
but which are surprisingly not in print on video . the british critic philip french , who knew malle since his first film , thinks
atlantic city
is the best of his american projects , although i would choose
my dinner with andre
( 1981 ) , and stanley kauffmann thinks
vanya on 42nd street
( 1994 ) , malle ' s last film , is the only successful film of a chekhov play .
the success of hbo in the mid - ’70s spurred the growth of cable tv . soon after , new satellite - delivered basic and premium cable tv networks were successfully competing against the major tv networks in the late ’70s and early ’80s , including movie channels such as viacom’s showtime ( 1976 , with satellite broadcast in 1978 ) , warner amex’s the movie channel ( 1979 ) , time / hbo’s cinemax ( 1980 ) , the disney channel ( 1983 ) and amc ( 1984 ) .
although the 1970s opened with hollywood experiencing a financial and artistic depression , the decade became a creative high point in the us film industry . restrictions on language , adult content and sexuality , and violence had loosened up , and these elements became more widespread . the hippie movement , the civil rights movement , free love , the growth of rock and roll , changing gender roles and drug use certainly had an impact . and hollywood was renewed and reborn with the earlier collapse of the studio system , and the works of many new and experimental film - makers ( nicknamed
movie brats
) during a hollywood new wave .
former writer , producer , and director in television ( and noted for the monkees television series ) , bob rafelson turned to movies in the late 60s . his feature debut was , predictably , the monkees film head ( 1968 ) , co - written with jack nicholson . his second film ( which brought rafelson a best screenplay nomination ) was one of the best of the 70s , five easy pieces ( 1970 ) , a fascinating , yet shattering ' road movie ' story of an emotionally - alienated concert pianist ( jack nicholson shortly after his work in easy rider ) who returned to his upper - class family after years of exile as an oil - field worker . in the 70s , he also directed a follow - up film the king of marvin gardens ( 1972 ) with jack nicholson , bruce dern and ellen burstyn , and the quirky stay hungry ( 1976 ) with sally field and jeff bridges ( and a very early performance by arnold schwarzenegger ) . his next notable film was the sexy remake the postman always rings twice ( 1981 ) with jack nicholson and jessica lange .
the long - awaited
awesome mix vol . 2 ,
full of ' 70s nostalgia , was released last friday for purchase . composed of marvel character peter quill’s favorite childhood tunes , the soundtrack was released in anticipation of the newest
guardians of the galaxy
film , opening friday , may 5 .
a similar establishment provides the location for louis malle ' s
atlantic city
( 1980 ) , which takes place in an apartment house near the boardwalk . it ' s slated for demolition , and all around are vacant lots filled with rubble and the sky - cranes of new construction . every exterior shot seems to have a background of debris being shoved out of upper windows , or bulldozers clearing vacant lots .
the new american wave of film - makers were also influenced by unconventional works from the italian neo - realists , or the french new wave artists , as stated earlier . films made outside the traditional hollywood mold , with great works of character development , were beginning to win critical praise and bring in tremendous revenues .
prem nazir is considered to be the biggest star in malyalam film history . he graduated from st . berchman ' s college in changanassery , kerala . he started acting for the excel company and most of his films were for the udaya and merryland studios . he portrayed the ideal male in most of his films .
“using songs from the ' 80s and old rock songs is very much a part of that goofy sound world ; it is very tongue in cheek . that’s what ' guardians of the galaxy ' does best , ” chad cannon , a music orchestrator for the film , said in an interview with the deseret news .
hui liu , nicknamed gordon , shot to stardom in the 36th chamber of shaolin – the 1978 classic that provides a backdrop for wu - tang clan’s debut album . it’s the first shaolin film to show the monastery’s training methods , as san te goes from unskilled fighter to folk hero . tarantino’s favourite , the ‘master killer’ played two roles in the kill bill films .
“two societal concerns of the early 1980’s—drug peddling and teenage runaways—proved the perfect combination as the foundation for the origin of cloak and dagger . while vastly different childhoods prompt the two 17 - year - olds’ arrival in new york , circumstances quickly intertwined tyrone johnson and tandy bowen’s separate paths into one . maggia henchmen ensnare the naive teens as test subjects for a new synthetic heroin . the normally fatal experimental drug actually triggers their powers : johnson envelops evildoers in darkness while bowen harnesses light as a weapon in the form of debilitating blades . while cloak and dagger burst into the marvel universe within the pages of
“young fans lived vicariously through kitty’s misadventures and relationships , representing the ultimate fulfillment of youthful daydreams . that someone so unassuming and ordinary , from a household not so different from those we passed through every day , could take flight with our heroes and enjoy their respect and camaraderie , was tantamount to personally donning the blue and gold . so many readers grew up with kitty , stared down the dissolution of family , wrestled with the natural—and supernatural—ebb and flow of relationships .
deemed “the ultimate ' 70s teen anthem” by rolling stone , “surrender” tells of a child trying to relate to his parents , an apt fit considering viewers see quill meet his father at the end of the film ' s trailer . the two parent - to - child themed tracks on the album are likely used to accent the development of that relationship over the course of
guardians of the galaxy , vol . 2 .
in 1975 , the creative artists agency was founded by michael ovitz and colleagues ( from the william morris agency ) to become a ' packager ' of talent for film projects - resulting in the creation of competition among agents . and conglomerate investment corporations were buying up many of the studios ' properties as part of their leisure entertainment divisions , with decisive power over decisions about the number of films and which hopefully - profitable projects to choose . all the elements of a film were brought together and packaged - the ' properties ' of original screenplay , novel , or stage play were combined with proven box office stars , directors , and marketing strategies .
little - known at first , john carpenter directed the cult sci - fi film dark star ( 1974 ) - a feature length derivative of a student short made while he was studying film at usc . it was a parody of stanley kubrick ' s 2001 : a space odyssey ( 1968 ) . ( carpenter composed all of the musical scores for his films beginning with dark star . ) he also directed the low - budget action thriller assault on precinct 13 ( 1976 ) ( a modernized remake of howard hawks ' rio bravo ( 1959 ) ) .
the isley brothers famously sued michael bolton and won over accusations that his
love is a wonderful thing
plagiarized their earlier song of the same title . but there ' s another soft rock hit that ' s much more similar to an isley song than bolton ' s was :
ride like the wind
by christopher cross ( 1980 ) resembles 1974 ' s
live it up
. the epic riff for both songs is almost identical , and the choruses are close as well .
i have not only seen the movie , i attended the funeral of officer hill . this is a wonderful movie about faith in the face of death . it is my understanding this film has been used over the years as a training film for new officers . this story happened in des moines , ia . he and his wife attended the same church we went to and we are still in touch with cindy and her father buck . both cindy and buck stand on and live their life for their lord an savior jesus christ and are a true testimony of faith in action , or walking the walk and not talking the talk . highly highly recommend it
thilakan ( born surendranatha thilakan ) was a malayalam film actor . widely considered one of the greatest actors of indian cinema , he was stubborn , uncompromising and very critical of the way lead actors worked in comparison to character actors . in a span of around 40 years , thilakan handled a huge . . .
corman hired the likes of francis ford coppola , martin scorsese , jonathan demme , joe dante , peter bogdanovich , james cameron , jack nicholson , robert deniro , paul bartel , and robert towne . he gave many of these novices their first career - breaking employment opportunities , as actors , producers , directors , writers , members of film crews , etc . he encouraged them to produce personally - relevant and creative works of art , and new genre interpretations . this support revived the notion of auteurism ( the belief that the director was most influential and responsible for creating a film ' s ultimate form , meaning and content ) .
, the vigilantes’ war on drugs grew to a limited series before long . the bond between tyrone and tandy runs deeper than their respective symbolic opposite powers , as cloak finds himself constantly hungry to feed his dark powers with dagger able to temporarily satiate him with her light . indeed over time dagger also convinced cloak to lighten their vigilante approach to a more acceptable pursuit of justice . while born in the 1980’s , this duo still fights evil , winning new fans with every victory . ” –
the cat empire ' s song
voodoo cowboy
briefly pastiches the theme from the good , the bad and the ugly .
editor nick lowe with his amazing friends nick spencer ( amazing spider - man ) and donny cates ( venom ) swing into sdcc with all the hottest spider - news ! nick spencer ushers in a new era for spidey that takes the web - head back to basics , while all - new venom writer donny cates lays out what’s in store for the symbiotic hero in both the past and present in his definitive take on the character . plus , learn the latest about your favorite spider - heroes from across time and space as they crawl closer and closer towards the edge of spider - geddon !
join joe quesada and fellow comics legend jimmy palmiotti as they reflect on the industry - redefining marvel knights imprint as it celebrates its 20 th anniversary . what was it like to pioneer this bold new storytelling style for marvel’s heroes , and how has it impacted marvel comics , movies , and television series over the last two decades ? learn about all this and more at this must - attend retrospective—and bring your own burning questions ! not to be missed by any fan of the mighty marvel manner !
the cantonese bodybuilder’s fearsomely muscular physique and downturned mouth invariably led to him being cast in villainous film roles , the most notable being opposite training partner bruce lee in enter the dragon and later , jean - claude van damme . a man proficient in tai chi , wing chun and generally crushing bones , he always made for a particularly charismatic badass .
the former ballet dancer became kung - fu’s first screen queen in 1966 classic come drink with me . she played warrior swordswoman golden swallow who tries to free her kidnapped brother . the film was a major inspiration for 2000’s crouching tiger , hidden dragon , so director ang lee cast cheng , by then aged 54 , as the treacherous jade fox .
with more power now in the hands of producers , directors , and actors , new directors emerged , many of whom had been specifically and formally trained in film - making courses / departments at universities such as ucla , usc , and nyu , or trained in television . corman supported this new breed of youthful maverick directors , referred to by some as
movie brats
or
geeks .
the aip studio ( and corman himself ) was responsible for giving a start and apprenticeship experience to many upcoming filmmaking cineastes and actors , emphasizing low - budget film - making techniques and exploitative elements .
raj kapoor was the son of well - known indian actor prithviraj kapoor , who acted both in film and on stage . after apprenticing in the bollywood production studios of the 1940 ' s , at 24 years of age raj kapoor produced , directed and acted in aag ( 1948 ) , with his new company , rk films . his next . . .
kamal haasan was born november 7 , 1954 in paramakudi , tamil nadu . he debuted as a child artiste in the film
kalathoor kannamma
( 1960 ) , which was released in the year 1960 . since then , he has starred in nearly 200 films in the major indian languages - tamil , telugu , kannada , malayalam and hindi . . . .
the teenage mutant ninja turtles theme song , for the 1987 tv series is the most iconic song in the franchise . the instrumental version plays during the action scenes and the end credits . in the red sky episodes , the song was remade .
at the start of his career , he played supporting or villainous characters in films such as purab aur paschim , sachaa jhutha , aan milo sajna , and mastana in 1970 , and in mera gaon mera desh , elaan and aan milo sajna in 1971 . he got his first break as the solo lead hero in the film hum tum aur woh ( . . .
ashok kumar was one of india ' s most famous actors from before to after its independence from the uk . as a young assistant to bengali film - maker himanshu rai , he got his start in acting by accident when he volunteered to substitute for the lead actor , jeevan naya ( 1936 ) , who fell ill before . . .
shamsher raj
shammi
kapoor was the son of theater and film actor prithviraj kapoor and his wife ramsarni
rama
mehra kapoor . shammi ' s acting career began in 1948 , when he joined his father ' s theatrical company
prithvi theatres .
like his father and his brothers , shammi eventually moved into the . . .
shashi kapoor is one of the leading actors of indian cinema having appeared in 160 movies - 12 in english and 148 in hindi . he has appeared in 148 hindi films - of them played the solo lead hero in 61 films , was lead hero in 53 released multi star cast hindi films , 2 unreleased multi star film and . . .
“soundtracks are a part of every character . they set the mood and the tempo of a film , tell the story and convey emotion , ” christopher said . “about every 15 years , music becomes ‘nostalgia . ’ after that time , people look back and have fond feelings about songs , and that can either conjure up an era or bring out differences in today’s society . ”
“revealed yet guarded , cold but passionate , seemingly a pawn but always the master—few mutants revel in contradictions the way that emma frost does . frost made her debut as the white queen of the power hungry inner circle of the hellfire club , a villainess holding her own in the most patriarchal mutant group in the marvel universe . she subverted expectations with her revealing wardrobe and manipulated both her ‘superiors’ in the club and her adversaries in the x - men , usually without the aid of her telepathy . even as one of the x - men’s fiercest opponents , emma still shared common ideology with the mutant heroes : the belief that young mutants should be protected , educated , and empowered to live their best lives . this shared belief eventually brought emma to the x - men as she became the team’s leading educator and , eventually , one of their most passionate and prominent faces . ” –
the original song itself kinda resembles rapper ' s delight by the the sugarhill gang .
sanjay dutt , son of nargis and sunil dutt , was first featured in rocky ( 1981 ) . although the film did well , it failed to promote him as an established actor . sanjay ' s personal life was exacerbated by drug problems , and worsened with the demise of his first wife , richa sharma , from cancer , and his . . .
usc graduate george lucas added his name to the list of new directors . his first film , produced by american zoetrope and executive - produced by francis coppola , was a full - length version of a student science - fiction film he had made earlier - the nightmarish vision of a dehumanized future in thx 1138 ( 1971 ) . the numerical moniker would appear as an ' in - joke ' in later lucas works : as the license plate of john milner ' s car in american graffiti ( 1973 ) , as the number of the cell block holding
chewbacca
in star wars ( 1977 ) , in other films of the star wars series ( except for jedi ) , and in numerous other films ( i . e . , swingers ( 1996 ) , sky captain and the world of tomorrow ( 2004 ) ) .
shatrughan sinha ' s first acting opportunity was playing a pakistani military officer in dev anand ' s prem pujari . subsequently , he got a small role as a police inspector in mohan sehgal ' s sajan in 1969 . the release of prem pujari was delayed , so his first released film was sajan . he later appeared . . .
hrithik roshan is an indian actor , born on 10th january 1974 , well known globally for his versatile roles , unmatchable dancing skills , and attractive looks . after having appeared in films as a child actor in the 1980s , roshan made his film debut in a leading role in kaho naa . . . pyaar hai ( 2000 ) for . . .
hollywood realized that it could increase its profits by advertising its new releases on television - first shown to be successful with the massive tv marketing campaign ( of $ 700 , 000 for three nights of nationwide prime - time tv ads on all the networks ) for jaws ( 1975 ) . universal called it
the biggest national tv spot campaign in industry history .
the film was also booked into almost 500 theatres for its opening weekend - a record !
the online extension of billboard magazine , urltoken is the essential online destination for the music business .
the red sky version of the theme song remained unchanged in the 9th and 10th seasons even though they had lord dregg replace the shredder as the main antagonist .
louis malle ( 1932 - 1995 ) was a french new wave pioneer who alternated between documentaries and fiction , between france and america . his first feature ,
elevator to the gallows
( 1958 ) , grew directly from the 1950s french noir period that gave us jacques becker , jean - pierre melville and the late flowering of the actor jean gabin . their french noirs were more elegies than adventures , more concerned with failure than triumph , less interested in action than the close observation of the daily behavior of their heroes . the best scene in becker ' s
touchez pas au grisbi
shows gabin preparing a late - night dinner of pate for the old pal he has loyally supported through one fiasco after another . after dinner , he gives him a toothbrush and pajamas .
this is probably my all time favorite martial arts movie . the artistry of the actors in performing their combat sequences is so smooth and flowing , and yet they make it look almost effortless . the costumes are , in a word , incredible . the dubbing lacks emotion , but the plot to the movie has enough twists to keep it interesting in between fight scenes . there are a few laughs along the way , and the music is just classic for a film like this . if you ' re into old kung fu movies , this is as good as it gets , in my opinion .
frequently be - mulleted rhee took up martial arts when he was four years old and mastered taekwondo , hapkido and kendo . frustrated by a lack of openings in the us film business , he decided to make his own . the brutal best of the best ( 1989 - 1998 ) series went on to become cult classics . his big brother simon is no slouch either , and has choreographed fights and overseen stunts for films including the dark knight rises ( 2012 ) .
malayalam film actor mammootty was born to ismail ( an agriculturist ) and fatima ( a homemaker ) . he had two younger brothers ibrahim and zakariah ; and three sisters , ameena , sauda and shafina . he did his high school ( pre - degree ) at maharaja ' s college , thevara and then studied law at ernakulam . . .
number of refugees accepted into the u . s . falls below the rest of the world combined for the first time . . .
the ascendant star took up his native indonesian martial art pencak silat aged 10 . uwais was working as a truck driver in jakarta when spotted by welsh film director gareth evans and cast in 2009’s indie flick merantau , which saw him master the ‘sumatran tiger style’ of fighting . now follow - up the raid arrives which sees uwais’ rookie cop join an elite swat team as they clear out a crime - addled , gangster - controlled 30 - floor apartment block from the ground upwards .
himself freely admitted that he borrowed the riff . the riff was also adapted by jimmy page for the
firoz was born in bangalore on september 25 , 1939 to a pathan father , sadiq , and an iranian mother , fatima . he has three brothers , abbas alias sanjay , akbar , and sameer . both sanjay and akbar are actors within their own rights , while sameer is a film - maker and assists in their golden palms spa . . .
“created by the legendary walt simonson , beta ray bill is so heroic and selfless that he’s one of the very few people in the universe worthy enough to wield the enchanted uru hammer mjolnir and take on the powers of thor . he’s so worthy that he even bested thor in combat , and odin gave him his own hammer , stormbreaker , that is the equal of mjolnir . and on top of all that—he’s a golden horse - faced alien called beta ray bill ! honestly , it doesn’t get much more awesome than that . simonson designed bill to appear like a monster , to demonstrate that heroes don’t always look the way you expect , and that’s still a useful message to take to heart today . the character also helped establish another idea that’s still very relevant today : mjolnir can bestow the title and power of thor on anyone , so long as he—or she—is worthy . ” –
chor yuen was generally incapable of making a crummy - looking movie , and true to form he laces everything with a thin , gauzy royal purple and constantly places objects , frequently flames or weapons , in the foreground of shallow - focus shawscope frames . by 1980 the patented shaw wuxia form had rapidly begun to re - calcify though ( even with lau kar - leung , more on the straignt martial - arts front , having yet to do some of his finest work ) , and yuen just can ' t make this material urgent despite the gorgeous photography . it ' s appropriately loopy in spots but the overstuffed plot is far too diffuse to carry any emotion ; a woman chops off her own leg and offers it to the lover that spurned her , and everyone just stands around…
the vocal melody sounds strikingly similar to that of the duran duran song
hungry like the wolf
.
the overall march - like rhythm of the song ( though not the synth riff , or the lyrical content , or the vocal style ) is also somewhat reminiscent of
psychosis
by poets of the fall .
better yet , horse the band ' s
the immense defecation of the buntaluffigus
directly interpolates it .
like seagal , the muscles from brussels is now a kitsch figure , but his late eighties / early nineties films are indisputable classics . he studied kickboxing , muay thai , shotokan karate , taekwondo , and classical ballet from the age of 10 , earning a black belt and mr belgium crown for body building . after a shaky start in film ( bad breakdancing , being replaced as the alien in predator ) , jcvd had a run of hits . trademarks ? the splits , babymaker punches and his helicopter kick .
the popularity of this track got a significant boost when it was featured in the 2004 film “eternal sunshine of the spotless mind , ” with jim carrey and kate winslet . since then , it has been featured in
megamind ,
martian child ,
the invention of lying
along with several television shows , including an episode of
dr . who ,
according to urltoken . “mr . blue sky” was even played in space , according to urltoken , as a wake - up call for commander chris ferguson of the atlantis on one of the final days of the sts - 135 mission in 2011 .
due to similar sounding riffs and the choruses , not to mention that the lyrics to one could be sung to the tune of the other .
listen to this piece of music . now listen to this one . even to this day , people are still confused as to who ripped off whose music . ( if only they checked out the dates : leviathan came out in 1989 , whereas recordof lodoss war came out in 1990 . ) and to even ask if the veteran composer like jerry goldsmith ripped off music from an obscure ( at that time anyways ) anime film is kinda unthinkable .
the other side
sounds similar to the motown standard
standing in the shadows of love
, to the point where the holland - dozier - holland writing trio threatened to sue the band over the similarity ( it was settled out of court , and the trio were given a writing credit for the song ) .
the secondary melody in his arrangement of the my little pony friendship is magic theme sounds suspiciously like the chorus of the victory celebration music from return of the jedi : special edition .
mesmerising maps reveal record - breaking temperatures across the world as the earth experiences ' one of the . . .
some of the song ' s lyrics have been re - used for the openings of the 2012 tv series and rise of the teenage mutant ninja turtles .
a start is the beginning of the end
, the intro track of venom , sounds like
network
by skaven of the future crew .
in 1971 , lucas formed his own film company , lucasfilm ltd . , in san rafael , california that soon evolved into a number of specialized companies . before his next major hit ( star wars ( 1977 ) ) , lucas organized industrial light and magic ( ilm ) , a post - production facility in marin county to advance the area of special effects , modeling , sound design , computer - generated effects , and other ground - breaking techniques .
in an interview with the deseret news , sinwell said peter quill ' s cassette tapes contribute to the sentimentality of the
guardians of the galaxy
films .
by using classic rock anthems , the ' awesome mix
duo brings in fans of all ages : kids come for the superheroes and parents for the music . the soundtracks are a part of the
guardians of the galaxy
brand .
, along with the
yeah yeah yeah
vocal hook in the intro .
the instrumental backing to the verses in
afterglow
is similar to the s3m song
forbidden night
by mysterium .
part - cherokee , part - irish tough nut carlos ray norris wasn’t always so : he wasn’t an athletic child and only took up tang soo do while in the us air force . he went on to earn black belts in three disciplines , invented his own hybrid style called chun kuk do ( ‘the universal way’ ) and became a world karate champion in 1968 . encouraged by steve mcqueen , norris moved into film the following year , although the hairy - chested hero’s screen career didn’t truly take off until the eighties , with a run of cult action flicks plus cheesy tv vehicle walker , texas ranger that ran between 1993 and 2001 .
kiss me
by sixpence none the richer and
fireflies
by owl city . the latter title may also be a shout out to the line
make the fireflies dance
from the former .
the tmnt theme song . if you want the song , download it here : urltoken