#the good the bad and the ugly 1967

[hansatorium]

super self-indulgant edit of blondie and tuco because I'm sort of insane about them <3

[pasta-pardner]

top 5 SPAGHETTI westerns >:3

TOUGH... ok

For a Few Dollars More | Per qualche dollaro in più (1965)

The Good, the Bad, and the Ugly | Il buono, il brutto, il cattivo (1966)

A Bullet for the General | Quién sabe? (1966)

Day of Anger | I giorni dell'ira (1967)

The Great Silence | Il grande silenzio (1968)

[2ndaryprotocol]

Sergio Leone’s spaghetti Western epic ‘The Good, The Bad, And The Ugly’ opened in US theaters this week 55 years ago. 🔫🐴🔥

“𝚆𝚑𝚎𝚗 𝚢𝚘𝚞 𝚑𝚊𝚟𝚎 𝚝𝚘 𝚜𝚑𝚘𝚘𝚝, 𝚜𝚑𝚘𝚘𝚝. 𝙳𝚘𝚗'𝚝 𝚝𝚊𝚕𝚔.”

[angel-eyes]

I wanna write comfort fics for LVC characters

[yippeecheapdvds]

Last week I watched "The Good, the Bad and the Ugly" (1967) Western/Adventure/Drama

This was a movie my brother picked out, and I did not expect it to like it as much as I did. I liked all the characters, the story was great, the action was fun, and it was cool to see how much influence this movie had on what came after it.

My only complaint is that this movie was very long. they used that time well, but by the time the movie was over it was well past my bedtime

9/10

[bagelsenjoyer14]

Maybe controversial but one thing about me is that I am a 1967 Crowley apologist

I have seen a lot of hate for this look, and I personally will not stand for this homophobia any longer. I mean shit look at that turtle neck, that immediately yells 60’s slut to me. I also have seen many people talking about this same turtle neck and I can not believe you guys have switched sides. Oh now you suddenly love it? Like you did not hate on this man for it a couple months ago? You guys are just as bad as my man Jim here.

Now finally the haircut, the one piece of this look that has gotten the most backlash. But before I defend it, I feel like I need to give a little context on this hairstyle. 60’s and 70’s hairstyles are ugly as hell, and that is what makes them incredibly appealing. How dare a person have the audacity to rock something so insane, so never done before! God did not create the mop top on any of the seven days and by god that is why we look so horribly good in it (and also why Crowley is rocking it!). So in conclusion while the hairstyle is a bit startling, that is the beauty of it!

Also maybe it is the Beatle loving side of me and the good omens side of me screaming internally because my worlds are colliding, but the John Lennon glasses add the perfect mix to this, I mean damn Crowley had no reason to slay so hard. And I personally crave more 1967 Crowley, in fact I think our world would heal (probably not the global warming part though as I’m sure it took a shit load of hairspray for that hairstyle)

And before you guys open tumblr to attack this man for being incredibly groovy I ask you to stop in your tracks and revert your eyes to this utter rock bottom of a look I have ever seen. By god it looks like someone murdered a leprechaun and glued it to my man crowley’s chin!

[oldmanpeace]

My favorite movie from each year, 1960+.

1960. Psycho (Alfred Hitchcock) 1961. Breakfast At Tiffany's (Blake Edwards) 1962. Cleo from 5 to 7 (Agnés Varda) 1963. 8½ (Federico Fellini) 1964. Dr. Strangelove (Stanley Kubrick) 1965. Pierrot le Fou (Jean-Luc Godard) 1966. The Good, the Bad and the Ugly (Sergio Leone) 1967. The Fearless Vampire Killers (Roman Polanski) 1968. Bullitt (Peter Yates) 1969. Easy Rider (Dennis Hopper) 1970. Kelly's Heroes (Brian G. Hutton) 1971. Harold and Maude (Hal Ashby) 1972. The Godfather (Francis Ford Coppola) 1973. Badlands (Terrence Malick) 1974. Bring Me the Head of Alfredo Garcia (Sam Peckinpah) 1975. Jaws (Steven Spielberg) 1976. The Bad News Bears (Michael Ritchie) 1977. Smokey and the Bandit (Hal Needham) 1978. Days of Heaven (Terrence Malick) 1979. Alien (Ridley Scott) 1980. Dressed To Kill (Brian De Palma) 1981. Thief (Michael Mann) 1982. Diner (Barry Levinson) 1983. Scarface (Brian De Palma) 1984. Paris, Texas (Wim Wenders) 1985. To Live and Die in L.A. (William Friedkin) 1986. Hoosiers (David Anspaugh) 1987. Full Metal Jacket (Stanley Kubrick) 1988. Big (Penny Marshall) 1989. Do the Right Thing (Spike Lee) 1990. Goodfellas (Martin Scorsese) 1991. JFK (Oliver Stone) 1992. Scent of a Woman (Martin Brest) 1993. Dazed and Confused (Richard Linklater) 1994. The Shawshank Redemption (Frank Darabont) 1995. Heat (Michael Mann) 1996. A Time to Kill (Joel Schumacher) 1997. Princess Mononoke (Hayao Miyazaki) 1998. Fucking Åmål (Lucas Moodysson) 1999. Fight Club (David Fincher) 2000. High Fidelity (Stephen Frears) 2001. The Royal Tenenbaums (Wes Anderson) 2002. Spider-Man (Sam Raimi) 2003. The Station Agent (Tom McCarthy) 2004. Sideways (Alexander Payne) 2005. Kiss Kiss, Bang Bang (Shane Black) 2006. Volver (Pedro Almodóvar) 2007. Into the Wild (Sean Penn) 2008. In Bruges (Martin McDonagh) 2009. Up in the Air (Jason Reitman) 2010. Hesher (Spencer Susser) 2011. Drive (Nicolas Winding Refn) 2012. Zero Dark Thirty (Kathryn Bigelow) 2013. Nebraska (Alexander Payne) 2014. The Grand Budapest Hotel (Wes Anderson) 2015. Sicario (Denis Villeneuve) 2016. Hell or High Water (David Mackenzie) 2017. Three Billboards Outside Ebbing, Missouri (Martin McDonagh) 2018. Manbiki kazoku (Hirokazu Koreeda) 2019. Uncut Gems (Benny & Josh Safdie) 2020. Nomadland (Chloé Zhao) 2021. Licorice Pizza (Paul Thomas Anderson) 2022. The Banshees of Inisherin (Martin McDonagh) 2023. The Holdovers (Alexander Payne)

[timefadesaway]

fav first watches of september <3

tagged by lovisa @wutheringdyke 💞

what a way to go! (1964) / cool hand luke (1967) / seven samurai (1954) / all that jazz (1979) / lawrence of arabia (1962) / the good, the bad and the ugly (1966)

tagging @rogersandclarke @holedyke @hillmouse @barstoolblues @ghostsynths :)

[thislovintime]

Photo by Nurit Wilde.

"He’s the ‘flower child’ of the quartet — hip to love, peace, beauty and all that (not that the others are in favor of hate, war and ugliness, but you see what I mean). This ties in with his complete trust of his fellow man. He says, ‘If everyone trusted everyone else, then 99% of the people would live up to that trust. All kinds of crime and cruelty would be eliminated. No one would be saying, Well, I always knew he was a bad sort. Everyone would just expect you to do the right thing and you would.’" - Tracy Thomas, Flip, September 1967 "I hate prejudice and violence. Somehow, those two seem to go hand-in-hand. Think of it this way: suppose we lived in a country where everybody was green, and then some orange and purple polka-dotted people came along. So we would be saying, 'Gee, what funny-looking polka-dotted people!' But because people are basically good in their hearts, each group would want to be friendly with the other. It's only fear, lies and bad leadership that keeps us all from loving each other and from seeing each other clearly and purely with the eye of the mind and the love of the heart." - Peter Tork, 16, December 1968 “I believe very much in all that I believed in back in the 60’s. I hope I’m more aware of the practicalities than I was then, but I am positive that the values and principles I held then are critical to the well-being of the planet, or at the very least, critical to growth and contentment in the population. As to the practicalities: the chance of no more war in our lifetimes is so close to zero that I don’t imagine it possible, tho’ there well may be progress along these lines. May be. Sometimes I see the world as an eternal horse race between salvation and dissolution, now one, and now the other gaining the lead. But to the extent that we can learn, each and all of us, that the cooperative good is good for the greatest individual good (with safeguards, to be sure), that forgiveness is the route to true inner peace, and that not everything we deem wrong or bad may be so, to that extent hassles of all shapes, sizes and colors will diminish. I am so sure of all this that I would, I hope, be willing to bet my life on these principles.” - Peter Tork, Ask Peter Tork

[mister-warmth]

Did a thing with this year's western extravaganza I've been going though

[kdo-three]

Hugo Montenegro His Orchestra and Chorus - The Good, The Bad and The Ugly (Theme) (1968) Ennio Morricone from: "The Good, the Bad and the Ugly" / "March with Hope" (Single) "Music from 'The Good, the Bad and the Ugly' and 'A Fistful of Dollars' and "For a Few Dollars More'" (LP)

Instrumental | Movie Theme | Ennio Morricone Cover

JukeHostUK (left click = play) (320kbps)

Partial Personnel: Art Smith: Ocarina Tommy Morgan: Harmonica ("the 'wah-wah-wah' sound") Muzzy Marcellino: Whistle Hugo Montenegro: Vocals (Hugo "grunted something which came out like 'rep, rup, rep, rup, rep'") Elliot Fisher: Electric Violin Emmanuel "Mannie" Klein: Piccolo Trumpet

Arranged and Conducted by Hugo Montenegro Produced by Neely Plumb

Recorded: @ RCA Victor's Music Center of the World in Hollywood, California USA on November 18, 1967

Album Released: in December, 1967

Single Released: in January, 1968

RCA Victor Records

[thesoulesscollection]

Beat The Hand That Sins (Thsc Choc Fic)

Heya! Here's a little writer's blurb. I wanted to write a piece depicting the turbulent dynamic between Candy with her grandson, Choc. 

By the way, please read the tags, Candy isn't a good person, she's very flawed, traumatized even, and downright abusive, most if not all having it directed at Choc.

Choc ‘fun fact’ is he's ambidextrous, is able to write with both hands fluidly yet naturally born a leftie and has a better preference for it. 

Choc's the type of person who will talk about his trauma in a almost positively cheerful way, brushing it off as a joke he could laugh at now while anyone around him is highly uncomfortable and concerned by

^ Although at first, his advice would come out as helpful, if some were to really think deeper into what he says, it's far from so. It's one that's twisted up by trauma under the fatherly guise of ‘knowing what's best’ for people. 

Tw/Tags: Heavy Angst, Whump, Graphic Child Abuse/Neglect, Corporal Punnishments, Physical Abuse, Verbal Insults, Dehumanizing Language, Abusive Familial Relationships, & Implied Religious Themes 

1967: Choc, 11yo & Candy, 66yo

On the ground, curled up in a tight little ball, Choc's wheezing, his good eye not swollen shut is fixated to the wall ahead. Breathing ragged he stayed still, emotionless, crying won't protect him. Soon thereafter he goes imaging happy thoughts, more a sweetened escape from cruel reality until it breaks apart by the fantastical seams once he hears her voice. 

“Get up you inept brat” 

It's what kept him relatively sane for the most part. Until his grandmother hovers above his twisted little form with clear disdain. The ugly sneer on her wrinkled face, her strong french accent clipped in impatience at his sorry state, and gloved fists tells him it was far from over. 

“G-grammy… Please” 

A harsh scoff and her cold hand pinch around the back of his neck, immediately it shuts him up. Choc should've known better than to talk back, past experiences such as this reminds him as only pain will come to him if he chose to be stubborn. When he's made to stand on unsteady feet, nearly buckling under him, he does feel himself sway a little. Though that is when the backhanded slap across his face on the good side, not yet badly bruised such as with the other, elicits a startled gasp. 

“How many times do I have to remind you to not be so careless? To not speak unless you are spoken to?” 

Wincing at the sting freshly blossoming in his round cheeks, Choc swallowed back the pain, silently nodding along. Best not to show what hurts, always better to tough out, pray that it won't be too bad. Last time around the age of six, stupidly having been brought up through heavy wails, he was in pain and couldn't feel his legs. His grandmother decided to give him a plentiful amount of lashes on his back, on each corresponding limb, and left him to sleep in the mess that's meshed with his tears, snot, and other ungodly bodily fluids. 

After a while the punishments, getting severe with each passing year, eventually do tend to blur together. Is it bad he stopped caring or rather no longer felt a thing?

Choc pushed it back to the recess of his mind. 

“I shouldn't be expecting anything highly from you, should I?” 

Once again the boy responds mutely, keeping his gaze locked on the ground, fingers digs in the old unwashed shirt worn daily, smelling of rotting stink. She barely allows him to clean in the idea he was at fault for his messy disarray so he shouldn't be rewarded with cleanliness or anything remotely caring. Unless he pleads his case to her, pathetically miserable it may be to earn her forgiveness which would never be granted, he still does it and will do chores galore, even if it would last from dawn to dusk to do all. But desperation called upon so, he'll work down to the bone, exhausted terribly he can sleep anywhere. 

“You're a freakish imp in disguise of the devil's making. How can I be so blind not to see this. Your underhanded antics and cynical attitude” She rambled in vile anger. “What you wrote to deface me, our family and over what we believe” 

This whole (one-sided) argument and physical discourse started because the elderly woman had taken note of his left hand at work, writing in a little journal in his room. A raggedy book yellowing in aged use was his only safe place to scribble away his inner worries. She read it, every page detailing his feelings, his thoughts on her, the family's fight over social standing, and the religion she prayed on her knees so rigorously over. Now it's been torn to shreds and he was beat for it. 

“What you wrote was deplorable. Sinful. You don't dare begin to understand and know what I've done for you and your sister to be where we are now” While the woman firmly persists, her wide frame easily shadows his who's back is pressed flat against the wall. “You shall be thankful you are here in the first place, to be at mercy you aren't completely feeble such as with your mother. If it wasn't for our holiness, you wouldn't be a thing” 

Choc curled away, his shaky hands clenched to fists, fighting the weak urge to cry, took this as a cue to speak, “I'm sorry” 

“And what did I tell you, boy, about using your left hand?”

His right protectively covered the left hand, his cheeks were lit on the fire of shame. “I-I don't like writing with my right hand… It's. It's was un-u-uncomfortable” 

“Give me your left hand” She orders, given no room for argument yet Choc resists, laying his left hand deep into his chest. “Now” 

“I-I forget! Please!”  

No matter what he says or goes to do, she is quicker to grab him by the ear, neck, arm, or in this case, his matted blond hair. Then she went for his left arm and got roughly yanked behind him, Choc for sure heard the bone in his shoulder pop. A pained hiss presses out his clenched teeth when she decides to throw his thin body on the nearest table. He faintly hears past the ringing in his ears, the rattling of a chest drawer open, she's in a desperate search for something. The tingling ache in his limp arm already tells him she dislocated it, he panics over the realization. Breath caught in his throat Choc squeezes his eyes shut.

Though in hesitancy, he cracks one eye open a smidge to see what his grandmother literally brought to the table, being a long slender stick made from smooth metal. Anxiously switching his blurry sight to his left hand as it lays on the table, palm flat on the bumpy oak surface. 

“You made me do this. Take this as a learning experience as it hurts me more than it will for you” 

Eventually Choc is pulled away from the table, his free hand, his right, the proper respectable one, grips the corner for dear life. In a sudden he was close to doubling over, bruised knees knocking together, almost giving out once the metal hits skin. Not his left hand but instead it is directed at back, likely used as a sly tactic to surprise him to alertness. She knows the boy slips into another state of mind. 

“I want you to at least be conscious with me to learn your lesson. So stand up proper, I ask of you to keep your eyes on the wall and repeat to me the number of lashes I give you” 

With a shake of the head, tremors is what it's called, Choc simply does what's asked of him, straightens his slumped posture and he blinks away the tears. Arm outstretched, hand ready to take the lashes, he steadies himself to take the punishments given. Rather he should be thankful she's merciful to primarily give his left hand and back the treatment. Although having been beaten to an inch of his life, she can no doubt be crueler about it. 

“O-One!” 

Voice cracks to an inhuman pitch which Choc grew embarrassed by, biting down at his lips hard enough to bleed. Grandma Candy is at his side, hearing his groggy whines with keen precision, no considerations, and it earns him another hit. This time, probably miscalculated, though it wouldn't really take him by surprise if it wasn't, she aims for his upper arm, a sliver of a long cut slashed across his forearm. 

“Two!” He calls out. Then another two right after. “Three! Four!” 

Soon he loses count. Mind went cloudy with time and intensity. However she won't lighten up. All Choc knows is how his voice follows in repeating the number of lashes the metal ruler gives him. Musky sweat profusely seeped out cut pores, the sour scent lingers heavy in the air. 

In due time, she tires herself out, her old body can't keep up as it once was in her younger years. 

Choc heaves a broken sigh, unable to pull his locked gaze from the wall. 

Whatever his poor ailing mother had to deal with when she was alive, in her own childhood must've been ten times worse so he doesn't think harder on it. He wanted to do his best to preserve a positive memory of his mother and not sully himself into the idea his treatment was worse than hers. 

“Do you apologize and reap for what you sow with bad intentions?” 

“Yes, I have” Choc stumbled a little. Left hand was swollen and bruised like a bad fruit. Any movement whether small or big, even with an involuntary twitch caused him to wince. Likely the bruises will last for a couple weeks and he can take it in if it's broken. Either way he isn't looking forward to anything in the future. The side eyed glares and his need to give them half baked excuses. 

“Good. You do realize I do this for you to learn that you can't keep biting the hand that feeds and cares for you? One day and it always will return to slap you back down to the fiery pits of hell” 

As she dutifully promised he wouldn't be able to write as well as any remaining sinful deeds with said hand. It took a longer period for him to get remotely accustomed to using his right hand; it still was like a chainsaw to butter but he got there to garner less scrutiny. 

[carco5a]

hai. top 5 westerns 🤠?

oh i forgot i had these to answer from last night!!! ok so according to my letterboxd my top 5 goes something like this based on my actual ratings

1. the big gundown (1967) (more people should see the big gundown kiss kiss the big gundown i love you)

2. for a few dollars more (1965) (my favorite dollars trilogy entry)

3. the good the bad and the ugly (1968)

4. butch cassidy and the sundance kid (1969)

5. a tie between tombstone (1993) and unforgiven (1992)

SPECIAL MENTIONS: sabata (1969) which is not “good” but is delightful and has a guy with a banjo that’s also a gun; true grit (2010) which i dont have logged in my letterboxd but was the first western i watched as an adult; and death rides a horse (1967) because lee van cleef looks so much like a long lost uncle of mine in this one i got scared and had a dark night of the soul about the future of my own testosterone hairline. i am now much more self actualized about my hairline because of this movie thank you lee van cleef.

the man who shot liberty valance (1962) i also gave 4.5 stars to on letterboxd but because i find john wayne just kind of personally repulsive it will never rank in my top 5 even if i know its Good.

[scribblescrabbledepartment]

summer movie log many rewatches many first times

[ID: a page covered in receipts, chopstick wrappers, and scraps of paper. written on the scraps of paper are the titles of numerous movies, and a label says "summer 2023."]

titles under the cut

Curse of the Demon (1957) Renfield (2023) Monty Python and the Holy Grail (1975) Count Dracula (1977) Short Circuit (1986) Apocalypse Now (1979) Dracula (1979) The Grand Budapest Hotel (2014) The Graduate (1967) Bram Stoker's Van Helsing (2021) THX 1138 (1971) Ghoulies (1984) The Good, the Bad and the Ugly (1966) Dog Day Afternoon (1975) Burn After Reading (2008) From Dusk Till Dawn (1996) Ghoulies II (1987) Pulp Fiction (1994) Van Helsing (2004) The Uninvited (1944) Quadrophenia (1979) The Blues Brothers (1980) Nosferatu the Vampyre (1979) Pee-wee's Big Adventure (1985) In the Heat of the Night (1967) Bram Stoker's Dracula (1992) Dracula: Dead and Loving It (1995) Westworld (1973) The Muppet Movie (1979) Bara no Konrei ~Mayonaka ni Kawashita Yakusoku~ (2001) The Devil's Advocate (1997) The Conversation (1974) Dracula: Pages from a Virgin's Diary (2002) Dracula's Curse (2002) The Deer Hunter (1978) The Vulture's Eye (2004) Dracula (2006)

[yestolerancepro]

Tolerance Project extra Thank you for the music Part 2 Classic Cowboys to Classical music

Introduction

Hello there Ben Brown here and welcome to the 2nd Chapter of a blog that looks at how we created the soundtrack for the Tolerance film as we join part 2 Robert is trying to get to a Job interview and Julie has an ungrateful boss to deal with

4 minutes 13 seconds Robert has to get to a job interview, but finds it hard work getting there. He misses his taxi, then a bus and he narrowly avoids getting run over. He is saved by a passer-by, played by Dan McTiernan, who was also our first Assistant Director. When Robert is about to be run over you can hear the Jaws theme for the first time. You hear it again when Robert meets the infamous Mr Grosenberg.

Again we went with the John Williams original the famous theme which we all know and love is called main title/first victim.

To learn more about the original Jaws 1975 click here  https://www.youtube.com/watch?v=V7jjHLJlDZo

I always felt a bit sorry for John Williams his record companies always seemed to a bit slow when releasing single versions of his hit themes. He missed out on a sure hit with his Star Wars theme in 1977, when a disco cover version of the main theme by a band called Meco entered the UK charts at number 7 and a number 1 hit in the US

You can find a video about that version by clicking here https://href.li/?https://www.youtube.com/watch?v=GAjuvI6sX2U&list=PL17vqAEJv6CV1syq4_fFKgBwSqGdJzH9z&index=264&t=135s

His original version used in the film spent 2 weeks in the US charts reaching the top ten

To learn more about the original Star Wars click here https://www.youtube.com/watch?v=j8_7IAP-biU

Like wise a cover version of his Jaws theme became a UK top 30 hit in 1975 John wouldn’t have a hit under steam till his Superman theme entered the UK top 40 in 1978

As Robert makes his way to the Bus stop we here People are strange a song by the Doors from their 2nd album Strange days The song peaked at number 12 in the BillBoard hot 100 US charts in 1967.

it later featured in the Horror film the lost boys from 1987.

When it was covered by Echo & The Bunnymen reaching #29 in the UK charts. The song was produced by Ray Manzarek, who as part of the Doors played Keyboards on the original track and on the cover version, its this version from the lost boys that we used in the Tolerance film

To learn about the making of The Lost Boys film click here https://www.youtube.com/watch?v=i4wGnXH4DOI&t=4s

8 minutes 24 seconds On her way to work Julie is past by a car which parks in a disabled space. Julie is not happy when she realises that the person parked in the space is not disabled, but is in fact her boss, Mrs Jones, played by Kate Faulkner. Julie daydreams about what she would like to do to her boss, leading to a spoof of The Good, The Bad and The Ugly. 

The Version used in the Tolerance film is a cover from an an unknown artist  and was not by Ennio Morricone or Hugo Montenegro.

In 1968 Hugo Montenegro released a cover version of the good the bad and the Ugly recorded on a Moog synthesizer it was big hit on both sides of the Atlantic a number 1 in the UK and a top 10 single in the US hitting number 2 in the US hot 100  It was held off from the top spot by another cinematic song: Simon & Garfunkel's "Mrs. Robinson." from the film The Graduate

The film's soundtrack was also a big hit reaching number 4 in the US album charts 

To learn more about the Good the bad and the ugly click here

11 minutes 19 seconds We cut to Julie, who is unhappy in her work. Mrs Jones tells her that she wants five copies of the work action plan and she needs them now. She later tells Julie that she can have the morning off, but first Julie has to tackle the monster photocopier. We chose the classical music, Car O Fortuna - Carmina Burana, by Carl Orff for the background music to this scene. This track is taken from my mums CD collection thanks mum ! 

 Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images"). It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".

14 minutes 29 seconds Robert goes into town to try and get a birthday card for Julie, but finds some of the shops and cash machines inaccessible. Does anybody know what the drum and bass music is here? Please let me know, so I can add it to the soundtrack playlist

17 minutes 29 seconds

Odeon Cinema sequence and the last of our film spoofs - this time to An Officer and a Gentleman. So it was only right when spoofing that film we use Up where we belong from the 1982 film. The song a duet by Joe Cocker and Jennifer Warnes it plays out in all its glory on its original chart release it was a top ten smash in the UK a number one in the US and it also won a Golden Globe A Grammy Award and an Oscar for best song.

19 mins 12 seconds as Julie and Robert make there way into the Odeon Cinema the instrumental track Green Onions can be heard recorded in 1962 by Booker T. & the M.G.'s. Described as "one of the most popular instrumental rock and soul songs ever, its also  one of "the most popular R&B instrumentals of its era", the tune is a twelve-bar blues with a rippling Hammond M3 organ line by Booker T. Jones that he wrote when he was 17.

It started life as a B side the instrumental will become a soul standard when its first released on the US charts on the 11 August 1962 where it reaches no 3  

It first appeared on the UK Singles Chart on December 15, 1979, following its use in the film Quadrophenia; it peaked at No. 7 on January 26, 1980, and stayed on the chart for 12 weeks

So Robert gets the job at the cinema and we see a montage of shots of him enjoying his new role to the music of The Professionals theme by Laurie Johnson The popular TV show ran on the ITV network for six series between 1977-1983 I like the scene but I would have used the classic Pearl and Dean Cinema Music.

Laurie Johnson passed away recently you can read the obituary by clicking here Laurie Johnson: The Avengers theme composer dies - BBC News

 If you have read and liked this blog please consider giving a small donation towards the Tolerance project by clicking on the above link

Notes

This blog has been compiled from various sources including deep breath Ability not Ability a Producers Commentary Part 1 in the Beginning Ability not Ability a Producers Commentary Part 2 Transport Ability not Ability a Producers Commentary Part 3 Employment Ability not Ability a Producers Commentary Part 4 Accessability Tolerance Project goes into Lockdown and Happy Valentines day from the Tolerance project

Thanks to Wikipedia for some of the musical background notes

This new edition also includes new making of documentaries for Star Wars Lost Boys The Good the bad and the ugly thanks to Minty’s comedic arts

Some material has been included from the Justin Lewis book Don’t Stop The Music Thanks to Google images for the pictures and Ian Medley for the Tolerance film screen grabs

Pictures

Jaws poster from 1975

The Meco artwork for the Star Wars theme cover version

Artwork for the Doors album Strange Days

Artwork for People are Strange covered by Echo and the Bunnymen for the lost boys in 1987

Poster for the Good the Bad and the ugly

Artwork for Mrs Robinson by Simon and Garfunkel

Artwork for the Good the Bad and the ugly Soundtrack

Carl Orff

Screengrab Julie (Clare Abbot) about to face the monster photocopier

Artwork for Up where we belong from 1982 from an Officer and a Gentleman

Artwork for the Booker T and the MGs single Green Onions

Quadrophina Poster

Publicity photo for The Professionals  

[warwickroyals]

beginning - previous - next

post is long af, but i have things i have to establish and alyssa's readers need to learn warwick lore if they hope to understand anything i have planned!

ps - can't believe i wrote dialogue for contessina, she's always been my favourite of helena's children

@thegrimalldis

[CONTESSINA, TEXT] Wilhelmina. When your father and I allowed you to move abroad it was under the assumption that you would be responsible and focus on school

[CONTESSINA, TEXT] Spending over 25K in under a month is unacceptable and proves that you're not ready to be living on your own

[MINA] Is she serious?

[CONTESSINA, TEXT] I have tried calling you twice already. Why don't you answer? Your father wants to speak w/ you.

[MINA] She cannot be serious, oh my God!

[MINA, TEXT] Mom relax.  School IS my priority but ppl here have standards. WMU isn't boarding school i cant wear the same ugly clothes every day!

[MINA, TEXT] Im sorry i missed ur call but theres nothing to talk about. Im exactly where i belong. No matter what ppl at home think . . . im living for myself now

~

[TELEVISION] By late 1967, the relationship had been going on for over half a decade.

[TELEVISION] The flame hadn’t died, Louis was still quite obsessed, and it was around that time members of the family—his mother, his grandmother—worried he was considering marriage.

[TELEVISION]   The relationship just wasn’t tenable, especially for the time. I mean, Queen Anne famously told her grandson a royal consort must without exception be wealthy, winsome, and white. The point stuck, Farrah Nassar was none of those things.

[TELEVISION] So, already we’re seeing the standards Prince Louis was held to, with those in mind it

becomes easy to understand why he eventually settled on Irene. Irene was the quintessential royal bride in many, many ways. 

The Wynnes were one of Sunderland’s oldest aristocratic families. Lady Irene’s ancestors had been in North America since the Mayflower and had walked the halls of our most esteemed institutions for generations. Top politicians, military commanders, and socialites. Queen Consort wouldn’t be a daunting title for a Wynne, or so everyone assumed—

[???] MINA, MINA, MINA!

[MINA] I’m coming, I’m coming, Jeez

[ZELLA] It was bad, Mina, so, so bad.

[MINA] You also smell “so, so bad”. Like gasoline and alcohol and . . . death

[MINA] Was it basketball again? Don’t say it was basketball, again.

[ZELLA] No, it was his stupid girlfriend. [IMMITATING TRE] "Naw, Zel, you don't know. She's so good. She runs a charity for pugs with proptosis. Her little brother has cancer. I can't mess this up." All because I told him it was a bad idea to bring her to my birthday party.

[TV SUBTITLES] Her parents and sisters were ecstatic. Irene received a lot of positive encouragement from her mother, Countess Wynne, in particular.

[ZELLA] I told you not to invite him. He’s a total cornball. It wish he would just hurry up and marry her. I’m not trying to play—I don’t even wanna fucking talk about it anymore. Which one is this?

[MINA] Uh, the doc? Women of Warwick it’s about—

[ZELLA] Whatever, just play it, I need a distraction.

[TELEVISION] I think early on Irene realized something was amiss. Farrah would just keep popping up. At family picnics and charity galas. Louis tried to pass her off as a friend, but Irene sensed the intimacy.

Irene was deeply hurt.

[TELEVISION] She would come to her mother in floods of tears saying, “Mommy, I

 can’t do this, Louis is in love with someone else.”  Countess Wynne, romance author, staunch

traditionalist, and . . .  Stepford wife—sorry—told her daughter that Farrah wasn’t a threat, that

 Louis would lose interest in her once marriage and children came along—

[ZELLA] I relate to her so badly. 

[MINA] Irene? Because same, I mean, our families are sorta similar.

[ZELLA] No, Farrah.

[MINA] EW! Don’t ever say that again, I will literally cut you off.

[ZELLA] Why?

[MINA] Because, like, how do you even do that? Like, how do you sleep with a married man with little children and feel literally no remorse? She is definitely going to hell.

[ZELLA] I'm not saying what she did was right, I'm just saying that we never hear her side of the story.

[MINA] Yeah, because she ran away like a coward after everything blew up in her snake face.

[ZELLA] C'mon, I’ve watched too many of these things with you. There are reasons to feel bad for her.

[ZELLA] Farrah was, like, an outsider, right? People always said that she didn’t deserve the things Irene had so, like, people got super fucking angry when the cheating came out. They thought she didn’t deserve that love—Don’t look at me like that, I’m spitting! Why has everyone forgiven Louis for the cheating but not her, then?

[MINA] Why do I get the feeling this is just about stupid Tré and his stupid car and his stupid maybe-girlfriend with the pug obsession? He’s a bum, Zella, forget about him.

[ZELLA] You’re not going to guilt-trip me into relating to Farrah, it’s not that deep.

[MINA] Can I guilt-trip you for going on dates with someone you hate, though?

[ZELLA] At least I’m actually going on dates, Mina.

[MINA] It’s called having standards. Why would I settle when there’s so much bigger and brighter?

[ZELLA] Not this again, Lord.

[MINA] A princess belongs with a prince, that’s the way the world works.

[ZELLA] No, that’s how the Grimalldis’ world works, and everyone else is just living life.