The Producers Movie Soundtrack Torrent
Torrent (1926) is an American silent romantic drama film directed by an uncredited Monta Bell. Music by, Arthur Barrow. The Hunchback of Notre Dame (1923); Merry-Go-Round (1923); His Hour (1924); He Who Gets Slapped.
Very Good: An item that is used but still in very good condition. No damage to the jewel case or item cover, noscuffs, scratches, cracks, or holes.
The cover art and liner notes are included. The VHS or DVD box is included.
The video game instructions and box are included. The teeth of disk holder are undamaged. Minimal wear on the exterior of item. No skipping on CD/DVD. No fuzzy/snowy frames on VHS tape. See the seller’s listing for full details and description of any imperfections.Release Year:2001Genre:RockStyle:Film Score/SoundtrackRecord Label:Sony ClassicalUPC:624EAN:624.
The Producers Movie Soundtrack Torrent Sites
Don't settle for less than the original cast recordingI buy a lot of soundtracks. Sometimes it's because I'm doing the play locally in the community theatre circuit, other times it's because I just like the music. Over time, I've learned that it's usually the original cast recording that portrays the characters properly. After all, those are the people that 'invented' the characters. The Producers is a little different.
The original characters were created by Zero Mostel and Gene Wilder, but the original movie did not have this score. Mostel was a great voice (he invented Tevye in Fiddler on the Roof) and could have done a wonderful job with this score, no doubt, but Nathan Lane absolutely SHINES in this role. Very few people on this earth have a feel for tempo or can execute flawless entrances the way Lane does it with Max Bailystock. He was made for roles like this, and his easy way of blending song and dialogue is amazing. And Matthew Broderick does a very respectable job as Leo Bloom and can carry a tune as well as any seasoned Broadway pro.
The chorus numbers are all 'over the top'. This was a big budget production and the audition hall must have been packed with first class talent for this show. The nice thing about buying soundtracks from the mid-70's onward is that the production quality is always excellent, and The Producers is no exception, truly a studio masterpiece. I LOVE this CD so much!!!Mel Brooks is brilliant!
I love the music and lyrics. I heard this described as Mel Brooks Love Letter to the Theater and I agree. I got hooked listening to a few of the songs on myspace. I listen to this CD everyday!!!
I am also going to get the Original Movie Soundtrack because I guess I just can't get enough.and I prefer the movie version of my favorite song 'Betrayed'. Nathan Lane is extraordinary!If you are interested in the creative process I would very highly recommend the DVD: Recording the Producers: A Musical Romp with Mel Brooks.
After more than nine years (and counting) of continuous stage performances, the musical Mamma Mia!, featuring songs from the catalog awkwardly stitched into a romantic comedy plot, was adapted for the big screen by the same producer/director/writer team that had taken it to the theater. (That would be, and, respectively.) Like its counterpart, it pleased moviegoers but not critics, and thankfully the film itself is not the primary subject of this consideration. The soundtrack album simply consists of 18 songs sung by the stars of the movie, most of whom are not professional singers. The instrumental portions of the music are remarkably similar to the original recordings, which is not surprising given that member, who produced this album, reunited the original studio musicians to re-create their parts.
Their playing (his, in particular) is a bit less precise here and there three decades on, but for the most part it's hard to tell the difference. On the original recordings, the Swedish singing group revealed its ESL (English as a second language) limitations, just as the songwriters (, fellow member, and sometimes ) revealed their ESL lyric-writing limitations. Here, the first of those problems is alleviated, while the second is somewhat elided by performers who are actors used to finding ways to say (or sing) even the silliest lines with some conviction. That's all to the good. But the generally low to mediocre quality of singing is such as to suggest an all- night in a karaoke bar. The singers may be divided into those who embarrass themselves and those who manage to avoid doing so.
In the latter category, the most prominent is, in the starring role of Donna, an innkeeper living on a Greek isle with her daughter Sophie, who is about to be married and, never having been told who her real father is, sets the plot in motion by writing to three of her mother's ex-boyfriends and inviting them to the wedding., who has some stage singing experience, is actually better when she's belting than when she has to be more intimate and expressive, as she is called on to do for most of the ballad 'The Winner Takes It All.' , as Sophie, also does well (and she even gets an extra solo, singing 'Thank You for the Music' with only piano accompaniment as the album's hidden track)., and are not heard from much, and therefore also fit into the non-embarrassing category. The real problem is, who simply can't sing at all, but who tries hard during such leads as 'SOS' and particularly 'When All Is Said and Done,' to often painful effect.
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(It's too bad that, a ringer who has real musical theater chops, only gets to sing 'Does Your Mother Know,' not only because the album would be vastly improved with more of her, but also because she is so much better than the others that she makes them sound even worse than they are.) On-screen, just as on-stage, Mamma Mia! Is at best a guilty pleasure. On disc, it is no more than a souvenir of the film experience (which didn't keep this album from topping charts all over the world upon its release).