film – Page 2

Dusty Springfield | Sweet Ride

“There’s something odd about Dusty Springfield’s (rightly earned) position in the pantheon of great female vocalists. She’s up there with Aretha Franklin and all the best soul singers, but she began her career as a pop folkie with her brothers in The Springfields,” (BBC). “She’s cited as an influence on the new generation of gutsy stars like Adele and the late Amy Winehouse, but she was a model of vocal restraint and subtlety. And, in a medium where honesty and passion are almost slightly overrated, Dusty was discreet about her feelings and her life to the point where her Pet Shop Boys-produced 1989 hit ‘In Private’ might have been about her entire life.

Despite, or because of or nothing to do with, these contradictions, the former Mary O’Brien was one of the best singers of her era – which was a decently long one, from her recordings with The Springfields to the great duet ‘What Have I Done to Deserve This’ … she was a singer very much rooted in a showbiz tradition that’s come round again to some extent.”

“Sweet Ride,” the theme to the 1968 movie of the same name, was written by Lee Hazlewood. Starting in C# major, the tune shifts up a half step to D major at 1:30. Many thanks to regular contributor Jamie A. for this submission!

What Dreams Are Made Of (from “The Lizzie McGuire Movie”)

Written by Dean Pitchford and Matthew Wilder, “What Dreams Are Made Of” is featured at the end of the 2003 Disney film The Lizzie McGuire Movie and performed by Hilary Duff. The disco-infused track begins in Eb and modulates up to E at 2:54.

At the Club Savoy (from “Panama Hattie”)

“Panama Hattie is a 1940 American musical with music and lyrics by Cole Porter and book by Herbert Fields and B. G. DeSylva. The musical is about a nightclub owner, Hattie Maloney, who lives in the Panama Canal Zone and ends up dealing with both romantic and military intrigue. The title is a play on words, referring to the popular Panama hat,” (SondheimGuide.com).

The musical was adapted for a 1942 film of the same name. With World War II underway and recently augmented by the addition of US troops, Hollywood was honing the craft of releasing films which were often short on budgeting, plot, or both. It seems that Panama Hattie was lacking only in the latter of the two factors. The film’s script “was quite witty, full of sight gags, yes, but tasteful sight gags, the non-Porter songs were not crap; Ann Sothern is a competent vocalist (nothing compared to Merman, who originated the part, but really, who is anything compared to Merman?), and Lena Horne’s in it,” (IMDB). “… But I suggest watching this movie for more than just Lena Horne … Virginia O’Brian is rather fun to watch with her deadpan singing … the plot is slim to none, but the movie really wasn’t about plot, it was about fun and peddling war bonds.”

The tune runs in A major overall, with a few temporary diversions. But the most noticeable shift, up a half-step to Bb, hits at 2:13 in advance of the number’s final wind-up.

Thanks as always to regular contributor Jamie A. for this submission!

Andrea Bocelli | Mi Mancherai

“Mi Mancherai,” (which translates to “I’ll miss you”) is from the critically acclaimed 1994 Italian movie The Postman. Composer Luis Bacalov won the Academy Award for Best Original Score, and the film was also nominated for Best Picture, Best Director, Best Actor, and Best Screenplay.

Italian singer Andrea Bocelli included the song on his 2015 album Cinema, which features classic film soundtracks and scores. The track starts in D and modulates briefly to Bb at 1:51 before returning to D at 2:28. After an instrumental interlude, the vocal returns at 2:56 again in Bb. There is a final modulation to Eb at 3:30.

Orchestral Manoeuvres in the Dark | If You Leave

“When you hear the swirling synths and clattering beat that open ‘If You Leave’ by Orchestral Manoeuvres in the Dark (OMD, for short), you just might be transported to some long-ago theater, or maybe back to nights at home with the VCR running,” (American Songwriter). “Or maybe, just maybe, you’ll recall the nervous excitement of a high school dance. This ‘80s anthem has a way of evoking nostalgia for that era like few other songs. In fact, the song is such a perfect example of desperate romanticism that you might imagine it to be one that was toiled over for weeks in an effort to make it the perfect fit for what would turn out to be an iconic movie scene. But what if we told you it actually was written and recorded in the span of an evening or so?

… Luckily, one of (OMD’s) U.S. fans was John Hughes, the noted writer and director … He contacted OMD to submit a track for his 1986 film Pretty in Pink … In around 14 hours, Andy McCluskey and Paul Humphreys wrote ‘If You Leave’ and created a rough mix. Once Hughes heard it the next morning, he was blown away, which meant that OMD had to get back to the studio on just a few hours sleep to polish up the track for an official recording … Even though it was rushed and put together without any kind of forethought, ‘If You Leave’ delivered just what OMD wanted. The song went to the Top 5 in the U.S., and it hasn’t ever quite departed from the public consciousness since … they ended up with a stone-cold classic …”

The tune is built around such a simple melodic idea (re-mi-do) carried from the verses into the chorus, paired largely with a cliché chord progression (I-vi-IV-V or I-IV-V-IV), that it’s difficult to imagine how this tune could work without a key change. No need to worry — there are ten! Starting with a shift from F major to D major before the vocal even makes an appearance (0:17), various sections of the tune shift among the keys of F, D, G, and E major.

Moving Too Fast (from “The Last Five Years”)

Jason Robert Brown’s 2001 two-character musical The Last Five Years traces the disintegration of a five year relationship between Jamie, a novelist and Cathy, an aspiring actress. The story, inspired by Brown’s own failed marriage, is told from the perspectives of both characters even though they only interact once in the middle of the show, at their wedding. “Moving Too Fast” is sung by Jamie when everything in his professional life is going better than he ever dreamed it could, and Cathy feels left behind.

The song, performed here by Jeremy Jordan in the film adaptation, begins in A and modulates to F at 1:28 for the bridge, which quotes “Still Hurting,” the first song in the show. It then returns to A at 2:26 and dances around Bb, B and C before a final modulation to Bb at 3:38

Journey To The Past (from “Anastasia”)

“Journey To The Past” closes the first act of the 2017 Broadway musical Anastasia, an adaptation of the 1997 film. The song, written by Stephen Flaherty (music) and Lynn Ahrens (lyrics), was nominated for Best Original Song at the Golden Globes and Oscars in 1998. Sung by the lead character of the show, Anya, the lyric expresses her desire to find home and belonging.

“There’s something about the way the vamp starts, that sparkly little vamp and it embodies hope and fear and those are universal emotions that every woman, everybody feels as they step into their lives and take control of their lives and know that I’m at that no turning back moment in life,” Ahrens said in an interview with Entertainment Weekly.

There are many key changes sprinkled throughout the song, and they all help build the drama and carry the story and character forward. The track, performed here by Christy Altomare, begins in C major; the modulations are listed below:

Eb: 0:24; F#: 0:48; C: 0:59; Eb: 1:11; F#: 1:36; Eb: 1:59; C: 2:15: Eb: 2:27.

Judy Garland | I’m Always Chasing Rainbows

“MGM’s musical extravaganza of 1941, Ziegfeld Girl, directed by the reliable craftsman Robert Z. Leonard, stars some of the studio’s most beautiful women: Judy Garland, Hedy Lamarr, and Lana Turner,” (EmanuelLevy). “The story focuses on three showbiz hopefuls and their efforts and fortunes in achieving their ultimate goal, becoming a glamorous ‘Ziegfeld Girl.’ … truly memorable is the series of lavish dance numbers, which are spectacular in costume design and scale … which do both Florenz Ziegfeld and choreographer Busby Berkeley proud.”

Although “I’m Always Chasing Rainbows” was made famous via other releases as early as 1918, the tune is often associated with Garland’s versions. What thoughts must have gone through Garland’s head as she sang yet another beautiful tune about rainbows and bluebirds? Her original version from Ziegfeld Girl, also included below, didn’t feature a key change. But later in her career, on her own TV show (episode 23, taped 2/21/1964 and aired 3/8/1964). Garland sang an expanded version of the ballad which included a half-step key change at 1:51.

Many thanks to Amanda D. for bringing this tune to our attention — her first contribution to MotD! Thanks also to our regular contributor Jamie A. for providing details on the air date of this performance.

Roxette | It Must Have Been Love

“This breakup ballad was written by Roxette’s instrumentalist, Per Gessle. Despite the somber lyric, the song proved very pleasing to the ear and became a huge hit,” (Songfacts). “Recorded before Roxette started working on their 1990 Joyride album, ‘It Must Have Been Love’ was reworked for the movie Pretty Woman, starring Julia Roberts and Richard Gere. The movie was an enormous hit, and so was the soundtrack … Released in March 1990, Pretty Woman developed a huge following, which helped send this song to the top of the US Hot 100 in June, where it stayed for two weeks.

The Swedish group had been popular in Scandinavia for years before they hit it big in the US: “It wasn’t until an American student studying in Sweden brought a copy of their second album home to Minneapolis, and persuaded a local radio DJ to play ‘The Look,’ that they achieved international fame,” (BBC). In 2019, the duo’s vocalist, Marie Fredriksson, passed away at age 61 after a 17-year battle with cancer.

The verses’ melody is simple and contained, but the choruses bring a greater range. Building on that trend, a resounding modulation up a perfect fourth hits on a chorus at 2:59.

Faith Hill | Where Are You Christmas?

Written for the end credits/soundtrack of the 2000 film How The Grinch Stole Christmas, “Where Are You Christmas” is a pop adaptation of the song “Christmas, Why Can’t I Find You” that is featured in the movie.

Mariah Carey, who wrote both songs, originally recorded the former, but due to a legal dispute with her husband it could not be released, leading to Faith Hill recording it instead.

The power ballad starts in Bb, modulates briefly to C at 2:59, and ultimately lands in D at 3:16.