Watch Orfeu (1999) online free - Orfeu: In a dangerous but human Rio de Janiro's slum, rises the love affair between Orfeu, a famous composer, and Eur Credited to Veloso and issued in the U.S. Orfeu (1. 99. 9)June 2. Bert Stern, our great friend for so many years, passed away yesterday. Forever part of the New Yorker family, he will be missed.. Stern only made one film during his career, but it was a doozy. Jazz on a Summer's Day lives on today as one of the greatest documentaries ever produced. In 1. 95. 8, a twenty- eight year old Bert Stern had built for himself a reputation as one the worlds leading fashion and advertising photographers. With his imaginative ads for Smirnoff Vodka, De Beers Diamonds, I. Miller Shoes and other blue chip accounts, Stern was on his way to becoming one of the greatest photographers of the second half of the 2. Although he had ambitions to turn his talent to motion pictures, the opportunity did not present itself until Elaine Lorillard, the founder of the Newport Jazz Festival, invited him to take some pictures of the summer musical event during the weekend of July 4, 1. Orfeu (Toni Garrido) is a popular composer from a samba school. He lives in the favela and falls madly in love when he meets Euridice (Patr Bert Stern, our great friend for so many years, passed away yesterday. Forever part of the New Yorker family, he will be missed. Orfeu (1999) by Adolfo on April 21, 1999. Overview; Rating; Full Article; Orfeu.Lorillard’s request that Stern “take some pictures” of the festival would evolve into a full- fledged motion picture production presenting some of the most remarkable scenes of live jazz ever brought to the screen. With principle emphasis on the performances of such legendary artists such as Louis Armstrong, Gerry Mulligan, Mahalia Jackson and Thelonious Monk, the film also offers unusual shots of audience reactions by individuals whose social, economic and age differences cover the entire scale from Brooklyn teen- ager to Newport dowager. While Stern’s camera fills the screen with a birds eye view of the America’s Cup races or with a tour of Newport’s picturesque streets and beaches, it also focuses on wasted teen- agers, pipe- sucking critics and the socialites whose ancestors built Newport’s famed mansions. Except for Mahalia Jackson’s gospel singing and Chuck Berry’s rock and roll, the music filling the soundtrack is pure jazz. Old favorites such as “Lazy River” and “Tiger Rag”, as performed by Louis Armstrong, and Anita O’Day’s interpretation of “Sweet Georgia Brown” are interspersed with the innovative manners of such artists as Thelonious Monk, Gerry Mulligan and Chico Hamilton. At such events in the past each artist was recorded by his or her respective record label; however, Stern preferred the idea of a compilation soundtrack for his film. George Avakian, the then head of Columbia records, helped Stern produce a soundtrack carrying nearly fifty of the best instrumentalists and vocalists in Jazz History. During the four day shoot, Stern broke many movie camera taboos including shooting directly into lights, holding for close- ups lasting three or four minutes, and shooting and recording all of the music sessions live to achieve a sense of immediacy and informality (magnetic sound recording was used). Although the movie only took four days to shoot, it took editor Aram Avakian nearly six- months just to sync up the nearly 8. After nearly a year in the editing room, Stern approved Avakian’s final cut running some 8,0. Bert Stern on the making of Jazz on a Summer's Day: I had known a wonderful girl named Jean Stein whose father owned MCA at the time. Jean was friends with a woman named Elaine Lorillard, who was the founder of the Newport Jazz Festival. One afternoon visiting her, just listening, I put together that they were putting on a jazz festival in Newport. It amused me, at first, when I heard that there was going to be a jazz festival in Newport. I was intrigued with the combination of Jazz and Newport, kind of. It just struck me that it would make a wonderful little short. It was a love story involving a boy who lived in Newport. I hired a writer, who was also an actor, to help me flesh out this story. Much of which was intended to be improvised. I was dating a girl, who was very beautiful, and I thought she and the writer/actor could be the subjects of this love story, with the festival providing the backdrop or setting. I made the mistake of rehearsing. The rehearsal went great, but immediately after that the passion that they had for each other was gone. When we set up the cameras there was nothing left to shoot. Not having a script, I realized I wasn't equipped to produce this story — if you're going to make a movie, it helps to have a script, or something happening. In this case, we had an event and didn't need a script. I stuck to the festival and to the music, and interpreted that with my camera. The event went on and we just shot what we could. George Avakian, an authority on jazz and the head of Columbia Records became very important in the making of the movie. Columbia agreed to record all of the sound for the festival. During the festival, George was in the pit, you might say, and when an artist came on stage we didn’t exactly know what they were going to play, but George would give us a sign, “let's do this one,” and we would turn the cameras on. There was something about these performances. I adapted some of the long lenses that I used in my still photography. I had a 1. 80- degree Sonar lens, which I used for a lot of still pictures and I adapted that to the Arriflex, which created a wonderful look. We had never seen anything like that before. We shot over 8. 0,0. Aram Avakaian, George's brother, and the most experienced filmmaker on the set was a wonderful editor. Aram spent a long time in the editing room just syncing all of the different cameras. I started shooting the film with no financing and Aram was in the editing room for a long time. I used to pay his salary every week from the money I earned shooting still photos. In the end, I decided that making movies was a very painful and difficult process and I didn’t really want to give up my photography, which I would have had to do if I wanted to devote myself totally to movies. I considered it, but I didn’t pursue it. I decided to stick to photography. This idea came along that I felt I could handle. It wasn’t something that I had ever seen before and it just intrigued me. Bert Sternobituary. Visit our Jazz on a Summer's Day page here.
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