Look at those movements. Sheer poetry in motion. Even with so limited a part of so many of her movies, she was a STAR in all its meaning. She was an equal to all and inferior to none! I might add that this clips shows that Horne was at her best singing without a mike since she was one of those rare artists who sang with the entire body. Even the movement with her arms are in sync with the emotion.
Love can be a moment's madness Love can be insane Love can be a life of sadness and pain Love can be a summer shower Love can be the sun Love can be two hearts that flower as one It can be, fine and free But that kind Is not so very easy to find Love can be a dying ember Love can be a flame Love pledged in September May be dead in December You may not even remember it came Love can be a joy forever Or an empty name Love is almost never ever the same Love can be an evil-doer Love can be a fog Love can make you feel like you were a dog Love can be a snow-capped mountain Love can be the truth Love can be an endless fountain of youth It can be ecstasy But it's true It doesn't always happen to you Love can be a four-score failure Love can bring you fame Love fresh as the morning May be wild when it's 'borning And then without any warning, it's tame Oh love can be a sweet endeavor Or a dirty shame Love is almost never ever, the same!
@Jacquetta....It's been a while since you posted. But here's hoping this reaches your attention anyway. Yes, this was a wonderful scene from Ziegfeld Follies of 1946. What did you think of "One of those things" from Panama Hattie? Horne, even appearing in cameos, was nonetheless a MOVIE STAR in the old sense, wasn't she? Jacquetta, she had her match in movie starlet, Acquanetta, however. The starlet was seen "B" movies, yet had that same sultriness Horne had. And she's the only actress I can think of who would've been better suited as Tarzan's mate, Jane. She definitely was more of a fit than either Brenda Joyce or Maureen O'Sullivan, both not quite the fit for Jane. Acquanetta attended, according to an early, early edition of Ebony Hampton University.
This number is HOT! Wow! Incidentally, it's from the 1946 MGM motion picture "Ziegfeld Follies" which was notable as MGM's attempt to bring back the "revue" format to movies, which had been used in the early days of "talkies" to highlight a studio's stars -- a series of unrelated musical numbers and comedy sketches. Sadly, the movie wasn't as financially successful as hoped, and no more "revues" were filmed, so we had to hear great performers and songs in rather boring bio-pics ("Words and Music", "Til the Clouds Roll By", "Deep in My Heart" etc etc). Fred Astaire had 3 numbers in this movie, including the only time he and Gene Kelly ever danced together in film (aside from 1976's compilation film "That's Entertainment Part 2"). Astaire's other two numbers were with Lucille Bremer, a technically good dancer whom MGM was grooming for stardom at the time. William Powell reprised his role as Flo Zeigfeld (whom he'd first played in 1936's "The Great Zeigfeld"...one of those creaky bio-pics that's only watchable today for the musical numbers!). Judy Garland, Kathryn Grayson, Lucille Ball, Esther Williams, and James Melton & Marion Bell (from the Metropolitan Opera) rounded out the musicals; while Red Skelton, Edward Arnold, Victor Moore, Keenan Wynn, Fanny Brice, Hume Cronyn and William ("Fred Mertz") Frawley handled comedic chores. "Zeigfeld Follies" is a curio, but it's definitely worth seeing.
Carol Griffith It was indeed a pleasure reading you, Miss Griffith. Yes, those were the days. And it was in 1946 that I saw this revue at the Granada Theater on State Street in Santa Barbara. So glad you mentioned Lucille Bremer, whose dancing I most certainly appreciated (she was "technically" a good dancer, as you say). Were singers Cher and Keely Smith influenced by Virginia O'Brien's deadpan, Miss Griffith? I seem to sense a connection there! It's certainly lamentable that the revue format didn't make the necessary return on investment. But wasn't Leonard Sillman's "New Faces of '52," which introduced Eartha Kitt, such a format? I could go talking till the cows come home about this period. Miss Griffith, what happened to the tour Horne was to make with Sinatra? Everyone waited anxiously for it to happen. Alas it never did! Thank you for your post. A damn good read, for sure! Are you a choreographer?
Estamos de acuerdo. Emociona como la cantante Maria de la Fuente, "En Carne Propria," de la Argentina. Se debe llamarla Apasionada por su modo de cantar.
I could look at the opening scene forever in this Lena Horne evergreen. Dancer Marie Bryant clearly has at least a temporary lock on the attention of a jock when lovely Suzette Harbin moves in for a piece of the action. The girl running up the staircase after a physical brawl with Harbin is Bryant, who was a close friend of the late socialite and mother of Natalie Cole, Maria Hawkins Cole.
Dark black men and light-hued women. Hmm. This seems familiar....what is the newest black male rap video that came out this month. I'm pretty sure you'll see the same 'juxtaposition'... And before y'all start, I LOVE/ADORE Lena Horne. Brown and dark girls are pretty too, though.
Cant believe she's black. She looks more Latina than black. I read somewhere that MGM tried to make her Hispanic to make her acceptable to white moviegoers, especially Southerners, but she refused to abandon her real heritage. I salute her for choosing dignity than money. They were calling her then Hedy Lamarr in sepia.
Who is the vendor with parakeet and hat on in this scene? It's a complement to the scene which seems to be somewhere in South Carolina, Catfish Row, for example.
