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Post by anthony40 on Feb 4, 2022 18:49:09 GMT
Regardless of what you think of the casting of Madonna or indeed the film at all, I have just received my March British Film Institute (BFI) programme magazine and they will be screening this at 17.50 on 4th March.
So, if you want to see Madonna raise her finger as she sings Don't Cry For Me Argentina or Antonio Banderas dancing in a fountain with a little girl on the big screen, this is your chance.
You don't have to be a member.
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Post by danb on Feb 4, 2022 19:11:04 GMT
It’s lovely that you don’t think we’re old enough to have seen it in the cinema first time around. Bless you. 😂
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Post by SuttonPeron on Feb 4, 2022 19:22:01 GMT
I wish I could see a cinema screening of this... My all time favorite musical film. Madonna is wonderful in it, so are Banderas and Pryce; and it´s beautifully shot.
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18,902 posts
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Post by BurlyBeaR on Feb 4, 2022 20:32:51 GMT
She was cheated out of that Oscar 😠
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3,825 posts
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Post by anthony40 on Feb 4, 2022 20:45:30 GMT
The newly added song You Must Love me just works
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Post by danb on Feb 4, 2022 21:57:59 GMT
She was cheated out of that Oscar 😠 I often wonder if people are deserving for not being their usual dreadful self. She was great in ‘Desperately Seeking Susan’, ‘Evita’ & I really like her in ‘Who’s That Girl?’ but everything since has been just awful. I mean ‘Die Another Day’? Imagine being the worst thing about the worst Bond film ever made? Imagine dripping candle wax all over your own breasts in a totally non-ironic way, on film, and then charging people to see it? Imagine being the worst thing in a really embarrassingly awful modern comedy play that people have paid a lot to watch, that has been based around you, on purpose? It’s not her fault. She’s Madonna? People don’t tell her what to do! Yet when they do, she ends up making product with worth. William Orbit on ‘Ray of Light’ being a great example. I don’t think anyone with any balls has been given the opportunity to direct her since Parker. If Tarantino couldn’t bully a decent turn out of her in that anthology thing I’m not sure who could.
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Post by interval99 on Feb 4, 2022 22:25:53 GMT
I wish I could see a cinema screening of this... My all time favorite musical film. Madonna is wonderful in it, so are Banderas and Pryce; and it´s beautifully shot. It's surprising there has been no special edition versions of this and took a bit of tracking down on Blu-ray when I was looking to see if that a better version than the original DVD release which was a fuzzy and very dark picture which didn't reflect the cinematic viewing. We may get some extras with the planned special editions Madonna is releasing of all her albums. Still wish that the double cd version had featured that wonderful saxophone play out of I'll be surprising good for you that have in the film.
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499 posts
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Post by WireHangers on Feb 4, 2022 23:22:43 GMT
The older I get the more I have a deep appreciation for the movie. It’s easily the best Lloyd Webber movie musical and Madonna is actually fantastic in it.
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1,911 posts
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Post by LaLuPone on Feb 4, 2022 23:44:08 GMT
I guess most of you disagree with Miss Patti on this then?…
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Post by chernjam on Feb 5, 2022 1:39:00 GMT
I guess most of you disagree with Miss Patti on this then?… Yes, with most things, yes...
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Post by sukhavati on Feb 5, 2022 9:50:14 GMT
I guess most of you disagree with Miss Patti on this then?… I do agree with Patti; I was so looking forward to the film and it just ruined the property for me, but other than JCS, I've not been happy with any ALW film adaptation. I think they did a great job with the opening funeral scene with the proverbial cast of thousands that would never fit on a West End stage, but there were far too many establishing shots that killed the momentum of the piece (how many times can you see the same goons trashing newspaper offices?), and the decision to slow down Buenos Aires - good lord - what were they thinking?! I saw the original production with Patti in its tryout period in California and that was one of the highlights of the original production - so much energy pulsing on the stage, fabulous dancers, and I remember my mother calling the upper class part of the ensemble "the penguins." Turning that number into a slower tango was a mistake. I also hated that they took away "Another Suitcase in Another Hall" from the mistress and had Eva sing it instead. Entirely changed the meaning of the song, the way that taking away "What I Did for Love" from Morales in the Chorus Line film and giving it to Cassie instead also changed the meaning of the song. Ridiculous. Madonna poses; I don't think much of her acting ability. If you saw Patti's Eva, every look, every movement, every intonation was carefully thought out and organic to the character, especially if you'd seen lengthy archival footage of the real Eva Peron. Madonna simply alternated between aimlessly waving her arms around because that's what she saw Patti do in the television adverts for the stage show, and looking pretty. Looking pretty is hardly acting. Making Antonio Banderas some generic supporting player who functioned as Greek chorus was a chicken move designed to placate the conservative part of the American market that can't stomach South American revolutionaries like Che Guevara. At least the real Che was Argentine and might have had strong feelings about the Perons. Banderas is not exactly a great singer, so again, after having the original American stage actor Mandy Patinkin as our Che, we were spoiled. To sum up, IMO, bad choices for two out of the three leads, too many needless edits that slowed the film down, and low energy compared to the original US stage production. The cinematography and sets went a long way toward grounding it in the Argentina of the 40s/50s, but it would have been much better to have a top quality MT actress who was unknown to the movie going public in the role, rather than someone whose public persona shoved aside the real life woman whose story they were supposed to tell.
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Post by BurlyBeaR on Feb 5, 2022 9:55:14 GMT
“She’s a wonderful performer for what she does”
Oof.
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Post by Deleted on Feb 5, 2022 11:25:28 GMT
It doesn’t matter what you think of Madonna as an actress, this is still one of the best movie musicals from the last thirty years.
Madonna’s casting might have been divisive considering the vocal requirement on stage, but if you put all prior knowledge to one side Madonna really did the role justice and delivered a solid performance.
Madonna was also the first person to have performed both Sondheim and Lloyd-Webber on film*, performing original songs that won both of them an Oscar - and turned up to the Oscars to perform both of them.
She might have proven herself if she and Goldie Hawn had managed to make Chicago in 1999, but I think the way that movie turned out was definitely for the best!
* I think she was the only person to do so until James Corden was cast in Cats?
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Post by Deleted on Feb 5, 2022 12:00:29 GMT
It’s not her fault. She’s Madonna? People don’t tell her what to do! Yet when they do, she ends up making product with worth. William Orbit on ‘Ray of Light’ being a great example. I You might want to tone the misogyny down. William Orbit is a terrible example too - Madonna had most of Ray of Light written and demoed before he even became part of the project (the demos have since leaked), and he’s spent decades in interviews explaining how intimidated and nervous he found working with her. Madonna spend the majority of her career making budget movies with bad scripts looking to make a profit off her name (and music). Admittedly she wasn’t very good most of the time but when it counted she upped her game - she only ever appeared in five movies with a budget of $30m+ and each of those made a profit. Her best roles though were easily in Evita and A League of Their Own. She hasn’t acted on screen in almost twenty years, but somewhat ironically when you tally up the box office of every movie Madonna was ever in, her overall gross tops $1 billion.
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Post by Deleted on Feb 5, 2022 12:26:44 GMT
I'm not sure why people on here think Patti is the benchmark of what Eva should be, she was only repeating what Elaine had originated before her.
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Post by inthenose on Feb 5, 2022 13:12:13 GMT
I adore Madonna - and Evita is one of my favourite musicals.
In my opinion the movie is a masterpiece. Banderas to me is the perfect Che, sexy - charismatic and that accent(!). He sings the hell out of the part - to me he is the benchmark. I've never seen another Che that even comes close (even Ricky Martin, who did his best impersonation!).
It was brilliantly cast. How good is Jonathan Pryce?!??
But Madonna absolutely carries it. Her singing is phenomenal, she acts the best I've ever seen her (and yes, I've seen all of her films, and true most are horrible). She basically embodies the version of Eva Perón depicted in the piece to a tee.
One of the harshest Oscar snubs ever and one of the best movie musicals ever.
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Post by inthenose on Feb 5, 2022 13:13:46 GMT
I'm not sure why people on here think Patti is the benchmark of what Eva should be, she was only repeating what Elaine had originated before her. Can't stand either of them in the role 🤣
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Post by newyorkcityboy on Feb 5, 2022 13:15:31 GMT
I wish I could see a cinema screening of this... My all time favorite musical film. Madonna is wonderful in it, so are Banderas and Pryce; and it´s beautifully shot. It's surprising there has been no special edition versions of this and took a bit of tracking down on Blu-ray when I was looking to see if that a better version than the original DVD release which was a fuzzy and very dark picture which didn't reflect the cinematic viewing. We may get some extras with the planned special editions Madonna is releasing of all her albums. Still wish that the double cd version had featured that wonderful saxophone play out of I'll be surprising good for you that have in the film. That instrumental was available as a bonus track on one of the CD singles (remember those?!) so is ‘out there’. (I have it in my loft somewhere!) I saw the movie when it opened at Odeon Leicester Square - the sound was amazing & *so* loud, much louder than any club I’ve ever been to. I saw it again at my local a few weeks later and was quite disappointed by the comparison. Yes, I adore Patti, and she would totally kill Madge on stage, but I think they made the right choice for the movie. From row M of the stalls Patti is electrifying. But the close camera work on film allows us to see Eva’s vulnerability as well as her grandstanding public persona. It’s a more nuanced take on the character, who herself is clearly playing a ‘role’, that of the Great Dictator. So the fact that Madonna is not quite so commanding actually works in her favour, IMO.
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Post by inthenose on Feb 5, 2022 13:19:57 GMT
It's surprising there has been no special edition versions of this and took a bit of tracking down on Blu-ray when I was looking to see if that a better version than the original DVD release which was a fuzzy and very dark picture which didn't reflect the cinematic viewing. We may get some extras with the planned special editions Madonna is releasing of all her albums. Still wish that the double cd version had featured that wonderful saxophone play out of I'll be surprising good for you that have in the film. That instrumental was available as a bonus track on one of the CD singles (remember those?!) so is ‘out there’. (I have it in my loft somewhere!) I saw the movie when it opened at Odeon Leicester Square - the sound was amazing & *so* loud, much louder than any club I’ve ever been to. I saw it again at my local a few weeks later and was quite disappointed by the comparison. Yes, I adore Patti, and she would totally kill Madge on stage, but I think they made the right choice for the movie. From row M of the stalls Patti is electrifying. But the close camera work on film allows us to see Eva’s vulnerability as well as her grandstanding public persona. It’s a more nuanced take on the character, who herself is clearly playing a ‘role’, that of the Great Dictator. So the fact that Madonna is not quite so commanding actually works in her favour, IMO. You hit the nail on the head with "nuance". Couldn't agree more. A big stagey performance just wouldn't have worked with the vision Alan Parker wanted. The addition of "You Must Love Me" and the more sympathetic Eva really works for me in the context of the world they created for the film.
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Post by danb on Feb 5, 2022 14:41:22 GMT
It’s not her fault. She’s Madonna? People don’t tell her what to do! Yet when they do, she ends up making product with worth. William Orbit on ‘Ray of Light’ being a great example. I You might want to tone the misogyny down. William Orbit is a terrible example too - Madonna had most of Ray of Light written and demoed before he even became part of the project (the demos have since leaked), and he’s spent decades in interviews explaining how intimidated and nervous he found working with her. Madonna spend the majority of her career making budget movies with bad scripts looking to make a profit off her name (and music). Admittedly she wasn’t very good most of the time but when it counted she upped her game - she only ever appeared in five movies with a budget of $30m+ and each of those made a profit. Her best roles though were easily in Evita and A League of Their Own. She hasn’t acted on screen in almost twenty years, but somewhat ironically when you tally up the box office of every movie Madonna was ever in, her overall gross tops $1 billion. Ok great….actually not great. Where do I state a MALE director? Where was the misogyny? I’m sorry that despite being a lapsed fan I don’t know the contents of her songwriting notebook or their timelines? Whenever there is any Madonna thread you immediately leap to her defence with obscure facts and try and beat people into submission with a ‘because you know more it must be right’ attitude. Nobody is asking you to think the same. Nobody requested a schooling in Madonna. It’s just a DISCUSSION board.
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Post by scarpia on Feb 5, 2022 16:49:11 GMT
I guess most of you disagree with Miss Patti on this then?… I do agree with Patti; I was so looking forward to the film and it just ruined the property for me, but other than JCS, I've not been happy with any ALW film adaptation. I think they did a great job with the opening funeral scene with the proverbial cast of thousands that would never fit on a West End stage, but there were far too many establishing shots that killed the momentum of the piece (how many times can you see the same goons trashing newspaper offices?), and the decision to slow down Buenos Aires - good lord - what were they thinking?! I saw the original production with Patti in its tryout period in California and that was one of the highlights of the original production - so much energy pulsing on the stage, fabulous dancers, and I remember my mother calling the upper class part of the ensemble "the penguins." Turning that number into a slower tango was a mistake. I also hated that they took away "Another Suitcase in Another Hall" from the mistress and had Eva sing it instead. Entirely changed the meaning of the song, the way that taking away "What I Did for Love" from Morales in the Chorus Line film and giving it to Cassie instead also changed the meaning of the song. Ridiculous. Madonna poses; I don't think much of her acting ability. If you saw Patti's Eva, every look, every movement, every intonation was carefully thought out and organic to the character, especially if you'd seen lengthy archival footage of the real Eva Peron. Madonna simply alternated between aimlessly waving her arms around because that's what she saw Patti do in the television adverts for the stage show, and looking pretty. Looking pretty is hardly acting. Making Antonio Banderas some generic supporting player who functioned as Greek chorus was a chicken move designed to placate the conservative part of the American market that can't stomach South American revolutionaries like Che Guevara. At least the real Che was Argentine and might have had strong feelings about the Perons. Banderas is not exactly a great singer, so again, after having the original American stage actor Mandy Patinkin as our Che, we were spoiled. To sum up, IMO, bad choices for two out of the three leads, too many needless edits that slowed the film down, and low energy compared to the original US stage production. The cinematography and sets went a long way toward grounding it in the Argentina of the 40s/50s, but it would have been much better to have a top quality MT actress who was unknown to the movie going public in the role, rather than someone whose public persona shoved aside the real life woman whose story they were supposed to tell. I remember liking the film when I first saw it in the cinema all those years ago, and it had a real buzz about it that's never happened since for any stage-to-screen musical since then (except Chicago). It's certainly the best of all the ALW transitions to the cinema, but then the bar isn't high as far as that is concerned. I agree the opening sequences were amazing with the huge production values. But as time as passed, I find myself more in agreement with you. I can understand why Madonna was cast and think she did OK, but it is a shame we didn't have someone who could do the original keys and some of the real 'ecstasy' moments of the stage show are totally ruined (e.g. the transition to 'Buenos Aires' and the electricity of 'A New Argentina'). I thought Banderas was fine. Che was an everyman in the original conception and in later revivals; it was Hal who wanted him to be Guevara...and that really wouldn't have worked with Parker's very naturalistic take. It's Pryce who I thought was really miscast. Doesn't look OR act like Perón...he just comes across as entirely weak and indecisive and a bit wet. Makes you wonder why on earth the descamisados would take over central Buenos Aires on 17 October 1945 or why he'd even have two presidencies. I find myself a bit colder towards the film now mainly because I don't like the dumbing down of the material (basically to get permission to film on location, they had to tone down a lot of the scathing commentary from the stage libretto) and it feels a bit like an extended Madonna video rather than an actual film, with a lot of the drama replaced with newspaper front-pages swirling around to present a comic-book history. But all in all, it's an OK take. Not a patch on the original, but very few things are.
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Post by Deleted on Feb 5, 2022 17:37:53 GMT
You might want to tone the misogyny down. William Orbit is a terrible example too - Madonna had most of Ray of Light written and demoed before he even became part of the project (the demos have since leaked), and he’s spent decades in interviews explaining how intimidated and nervous he found working with her. Madonna spend the majority of her career making budget movies with bad scripts looking to make a profit off her name (and music). Admittedly she wasn’t very good most of the time but when it counted she upped her game - she only ever appeared in five movies with a budget of $30m+ and each of those made a profit. Her best roles though were easily in Evita and A League of Their Own. She hasn’t acted on screen in almost twenty years, but somewhat ironically when you tally up the box office of every movie Madonna was ever in, her overall gross tops $1 billion. Ok great….actually not great. Where do I state a MALE director? Where was the misogyny? I’m sorry that despite being a lapsed fan I don’t know the contents of her songwriting notebook or their timelines? Whenever there is any Madonna thread you immediately leap to her defence with obscure facts and try and beat people into submission with a ‘because you know more it must be right’ attitude. Nobody is asking you to think the same. Nobody requested a schooling in Madonna. It’s just a DISCUSSION board. I just take issue with anyone claiming that a woman needs to do as she’s told in order to create a ‘product with worth’. You weren’t talking about directors specifically as the example you offered was a male record producer. So let’s not change the narrative. I am aware that this is a discussion board but that doesn’t mean I have to agree with you. I disagreed with you, offered an explanation as to why and then moved on. Instead of discussing it further (agreeing or disagreeing), you’ve instead opted to go on the offensive and post a personal attack. Madonna has been in show business for forty years - she doesn’t need me to defend her as she doesn’t need defending. So quoting a post where I clearly criticise Madonna in order to tell me I always leap to her defence is quite an ironic turn of events. I just think it’s a real shame that having co-written virtually every single song she’s ever released, and having co-produced every single one of her albums since 1986, people just don’t respect her abilities.
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Post by SuttonPeron on Feb 5, 2022 17:59:11 GMT
I personally think Madonna was the perfect choice (Despite her limited vocal abilities). She embodied Eva´s ego and self-centredness perfectly, but she also made the character very human and vulnerable. She, as the real Eva Perón was, is a woman who uses spectacle and her presence to move the crowds. That is why her performance felt very natural. A Patti/Elaine or even Elena Roger interpretation works well onstage, with a limited ensemble and locations; but not neccessarily on film.
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Post by danb on Feb 5, 2022 18:23:16 GMT
Ok great….actually not great. Where do I state a MALE director? Where was the misogyny? I’m sorry that despite being a lapsed fan I don’t know the contents of her songwriting notebook or their timelines? Whenever there is any Madonna thread you immediately leap to her defence with obscure facts and try and beat people into submission with a ‘because you know more it must be right’ attitude. Nobody is asking you to think the same. Nobody requested a schooling in Madonna. It’s just a DISCUSSION board. I just take issue with anyone claiming that a woman needs to do as she’s told in order to create a ‘product with worth’. You weren’t talking about directors specifically as the example you offered was a male record producer. So let’s not change the narrative. I am aware that this is a discussion board but that doesn’t mean I have to agree with you. I disagreed with you, offered an explanation as to why and then moved on. Instead of discussing it further (agreeing or disagreeing), you’ve instead opted to go on the offensive and post a personal attack. Madonna has been in show business for forty years - she doesn’t need me to defend her as she doesn’t need defending. So quoting a post where I clearly criticise Madonna in order to tell me I always leap to her defence is quite an ironic turn of events. I just think it’s a real shame that having co-written virtually every single song she’s ever released, and having co-produced every single one of her albums since 1986, people just don’t respect her abilities. So it has nothing to do with misogyny then. It has to do with her doing her best work in collaboration with others. You can ramble on about the rest without me. Just wanted to clear up your slander. Edit: Add another four paragraphs to cover your tracks and enhance your victim stance if you like, but I’m still not interested in discussing it further. You like some things and I like other things. Just let it lie.
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Post by Deleted on Feb 5, 2022 20:48:19 GMT
Bottom line, it wouldnt have been made without Madonna, or someone else of that level of name recognition. I like the film and feel it gets a lot of bashing, only because Madonna is in it.
I was occasionally at Shepperton Studios when it was being filmed there, and would linger around in the hope of seeing her or Antonio Banderas. The Waltz for Eva and Che was filmed when her pregnancy was starting to show and its fun to notice all the ways they try and hide it.
I also thought she was good in Dick Tracy.
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Post by singingbird on Feb 6, 2022 10:41:11 GMT
Fantastic to see such discussion of this movie. I love it and feel like it's really neglected. It just exudes power and ferocity, somehow, and is exactly what I want film musicals to be and so rarely are (a totally sweep-you-up experience). Of course, it helps that Evita is arguably both Lloyd Webber and Rice's finest work, individually or together, catching them both at that sweet spot where they are assured/polished and yet still pushing boundaries and exhibiting youthful swagger.
The double CD is one of my most played recordings of any musical. But I do get frustrated that, despite there being lots of recordings of Evita, none is quite perfect. I love the orchestrations on the film cast - it is rich and orchestral but also unafraid of the fact that it is indebted to both heavy rock (perfectly capturing the rabble-rousing politics and murky goings on) and classical modernism. I also enjoy the inclusion of The Lady's Got Potential, with a staggeringly clever lyric re-write to fit the new context. That can't have been an easy task! However, it also edits the score, and switches things around in places, which I find annoying.
Both the OLC and OBC are fine (OBC obviously more complete, so much better) but I find the original stage orchestrations weak and weedy. The most complete recording of the score has to be the Elena Roger Broadway recording. The new orchestrations are great here, but I find Ricky Martin's Che almost unlistenable, and it just ruins everything for me.
Hands down IMO the finest vocal take of the title character is Julie Covington. I find her performance utterly spine-tingling and terrifying in equal measure. I've rarely heard a musical theatre performance like it. I love the feel of the original recording, too. But the show evolved so much after this recording that it doesn't quite feel like the same show, somehow.
I doubt there will ever be the market demand for yet another complete Evita recording - I just wish one of the ones we already have ticked all the boxes!
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Post by scarpia on Feb 6, 2022 11:01:27 GMT
Fantastic to see such discussion of this movie. I love it and feel like it's really neglected. It just exudes power and ferocity, somehow, and is exactly what I want film musicals to be and so rarely are (a totally sweep-you-up experience). Of course, it helps that Evita is arguably both Lloyd Webber and Rice's finest work, individually or together, catching them both at that sweet spot where they are assured/polished and yet still pushing boundaries and exhibiting youthful swagger. The double CD is one of my most played recordings of any musical. But I do get frustrated that, despite there being lots of recordings of Evita, none is quite perfect. I love the orchestrations on the film cast - it is rich and orchestral but also unafraid of the fact that it is indebted to both heavy rock (perfectly capturing the rabble-rousing politics and murky goings on) and classical modernism. I also enjoy the inclusion of The Lady's Got Potential, with a staggeringly clever lyric re-write to fit the new context. That can't have been an easy task! However, it also edits the score, and switches things around in places, which I find annoying. Both the OLC and OBC are fine (OBC obviously more complete, so much better) but I find the original stage orchestrations weak and weedy. The most complete recording of the score has to be the Elena Roger Broadway recording. The new orchestrations are great here, but I find Ricky Martin's Che almost unlistenable, and it just ruins everything for me. Hands down IMO the finest vocal take of the title character is Julie Covington. I find her performance utterly spine-tingling and terrifying in equal measure. I've rarely heard a musical theatre performance like it. I love the feel of the original recording, too. But the show evolved so much after this recording that it doesn't quite feel like the same show, somehow. I doubt there will ever be the market demand for yet another complete Evita recording - I just wish one of the ones we already have ticked all the boxes! I'm still furious we didn't get a double CD of the London revival, because that had a better cast, Elena Roger was in better form, and the orchestra sounded magnificent on it. Apparently ALW and Tim Rice agreed (I wrote in as I thought it was a missed opportunity, particularly because of those reorchestrations) but the decision was taken by RUG at the time only to provide a highlights album, despite the fact that the only recording of the full West End/Broadway stage show up to that point was the OBC. So when the Broadway revival said they would do a recording, I thought...yes, here's the chance the rectify that. But then they announced it would be highlights only! I got in touch with the producers and asked as many people as I could do do so...and fortunately they changed their minds and did the full score. BUT...that recording has issues, and it means I don't play it as much as others. I adored Elena Roger in the role in London, but something happened to her voice when it crossed the Atlantic, Ricky Martin is a dud, and the orchestra sounds incredibly weak...I guess they could only do a full CD if it meant compromising on the orchestra (which was not compromised on in the 2006 London recording and in fact was augmented). I do like the OBC orchestrations, and in some cases they age a bit better than then revival version and have a harder edge to them that suits the show. A lot of it was improvised in the course of the run by people in the pit, and for the better (e.g. the samba beat in 'Buenos Aires'). The London orchestrations at the Prince Edward sound bizarre on the OLC. I find the film orchestrations far too poppy, but I can understand why they went down that route given that they cast the Queen of Pop in the title role. As you say, none is quite perfect.
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Post by newyorkcityboy on Feb 6, 2022 11:40:58 GMT
People forget that the live action musical was dead before EVITA came along. Many factors contributed to the genre’s decline, not least MTV, so those who accuse EVITA of looking like a music video are at least partly right: this is the very audience they needed to attract/convince. Without this movie’s success, which then led to Moulin Rouge, there wouldn’t have been any films of Chicago or Dreamgirls or Les Mis.
I’d love to see a Chess movie one day; it would be a riot of 80s nostalgia! Big hair and shoulder pads and loads of Casio keyboards!
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Post by danb on Feb 6, 2022 12:16:14 GMT
Totally this. It was the beginning of the resurgence and is magnificent.
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18,902 posts
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Post by BurlyBeaR on Feb 6, 2022 12:42:53 GMT
Would it even have been made at all if they hadn’t got Madonna for it?
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