The song brought me solace and if it does the same for others, that will be a very great reward. Beatty wanted costar Diane Keaton to release the song as a single, so Sondheim added words, too. They give the actor a chance to play a character. In this case, one that is in the middle of a conversation. Very original. In , Robbie Buchanan produced it with Barbra. So when it modulates up through the end of the song, it's actually back up to the original key.
So it sounds like it's going up. That was a really hard song to do. At first, [composer] Johnny Mandel looked at me kind of nutty when I said, "I love the melody of 'Emily,' but it's really a man's song, so I would just need a little verse to set it up so that it could be sung by a woman. So I said, "Well, you can only ask.
They can say no, but will you write the melody for it if they say yes to the lyric? The Movie Album debuted at No. Two nights before I recorded this, Sammy, my sweet little nine-year old Bijon-Frise, had to be put to sleep. When I stepped into the vocal booth, his brave and loyal face was very much on my mind. This much loved, Academy Award-winning song by Henry Mancini and Johnny Mercer, perfectly reflects the wistful, romantic quality of the movie.
One of my favorite actresses Audrey Hepburn as Holly Golightly captivated hearts as she sat on the window-ledge, playing this enchanting tune on her guitar. East, P. This is one of those golden-era songs, better known today than the movie it was written for. In the picture, leading man George Raft deceptively induces his leading lady to sing it to him in the traditional ballad style of the era.
This song left a deep impression on me when I was about 15 years old. I was also a big fan of Johnny Mathis, who recorded it for the end-title. Besides his voice, I loved his beautiful sad eyes. I thought if the song had a verse--with the idea of Emily longing to hear her lover speak her name—it would be possible for me to perform it.
I loved it so much, that on our wedding day, my husband and I walked down the aisle to it with a chamber orchestra arrangement by my friend Marvin Hamlisch. His melodies are always so passionate and such a joy to sing. It was extraordinary. This haunting song is from a movie I love by director Percy Adlon. The words and music perfectly capture the essence of the film…mysterious and magical. Composer Bob Telson was kind enough to write a new third verse for me.
I also heard a really good version by Shirley Horn, who is such a wonderful singer. I remember liking this Hollywood rags-to-riches-to-nervous breakdown movie with Natalie Wood and Robert Redford…one of his first films. It reminded me of some of the songs from the early days of my career. I thought it would be a good way to close the album. The pure, restrained singing on The Movie Album is, in a word, beautiful. Indianapolis Star review.
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