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Eydie Gorme, Bossa Nova Great, Dies Aged 84


Steve Lawrence

Eydie Gorme has passed away at the age of 84 following a short battle with an unspecified illness. The singer died in Las Vegas on Saturday (10 August) afternoon, her publicist confirmed to People, leaving behind a legacy of softly sung hits that ranged from bossa nova to ballads.

Gorme was a popular recording and concert singer, appearing on television numerous time as well. Some of her most memorable songs were collaborations with her husband Steve Lawrence, although she also tasted success as a solo act. She and Lawrence formed a solid bond together throughout their fifty-six years of marriage, and Lawrence remained by her bedside, along with their son, when she died this weekend.

Continue reading: Eydie Gorme, Bossa Nova Great, Dies Aged 84

Eydie Gorme, Popular Television Singer, Dies Aged 84 In Las Vegas


Steve Lawrence

Eydie Gorme, a popular television singer, died on Saturday (10th August) at the age of 84. She died of an undisclosed illness at Sunrise Hospital in Las Vegas. Her death was announced by her publicist on Sunday.

Steve Lawrence
Gorme's husband Steve Lawrence at the opening of Andrea's Restaurant, Las Vegas.

Born in the Bronx, New York in 1928, Gorme began her music career in 1950, recording with the Tommy Tucker Orchestra and Don Brown. In 1953, she was invited to appear on The Tonight Show Starring Steve Allen. She appeared alongside singer Steve Lawrence, who later became her husband. 

Continue reading: Eydie Gorme, Popular Television Singer, Dies Aged 84 In Las Vegas

Eydie Gorme, Beloved Singer Of "Blame It On The Bossa Nova," Dies Aged 84


Steve Lawrence

Eydie Gorme, the beloved singer, known for her light tunes and easy listening style, has died at the age of 84. Eydie first rose to fame with her 1963 hit “Blame It On the Bossa Nova”, which was written by Barry Mann and Cynthia Weil. While the popular song was a solo effort, Gorme went on to perform alongside her husband her husband Steve Lawrence, as one half of the contemporary duo Steve & Eydie. The two became a popular act in nightclubs across the country.

Listen to Blame It On The Bossa Nova below.

Continue reading: Eydie Gorme, Beloved Singer Of "Blame It On The Bossa Nova," Dies Aged 84

Mr. Warmth: The Don Rickles Project Review


Weak
At the New York Film Festival screening of John Landis' Mr. Warmth: The Don Rickles Project, subversion was in the air as Landis strolled out to introduce the film and, peering into the audience, asked William Lustig, the director of Maniac Cop, to take a bow. The excitement continued when the lights dimmed and Harry Dean Stanton in the film began warbling "Old Blue" in Dan Tana's Restaurant. Landis' camera then picks up Rickles' empty dressing room at the Stardust in a series of masterly composed shots of vacant chairs and silent bric-a-brac -- Ozu in Vegas. But then banality set in.

Landis very quickly assumes the role of the Los Angeles Chapter President of The Don Rickles Fan Club. Legions of comics and actors are trotted out (much in the manner of The Aristocrats) to praise the brilliance and hilarity of the master of the comic insult. These interviews are interspersed with clips from Rickles' films -- Kelly's Heroes, Run Silent, Run Deep, The Rat Race, X: The Man With the X-Ray Eyes, Beach Blanket Bingo -- along with television excerpts from The Tonight Show and The Dean Martin Celebrity Roasts. The Man Himself is interviewed and asked to comment on his life and art. Centering the whole mishmash is footage of Rickles' nightclub act at the Stardust -- an act Rickles had heretofore adamantly refused to be filmed.

Continue reading: Mr. Warmth: The Don Rickles Project Review

Mr. Warmth:The Don Rickles Project Review


Weak
At the New York Film Festival screening of John Landis' Mr. Warmth: The Don Rickles Project, subversion was in the air as Landis strolled out to introduce the film and, peering into the audience, asked William Lustig, the director of Maniac Cop, to take a bow. The excitement continued when the lights dimmed and Harry Dean Stanton in the film began warbling "Old Blue" in Dan Tana's Restaurant. Landis' camera then picks up Rickles' empty dressing room at the Stardust in a series of masterly composed shots of vacant chairs and silent bric-a-brac -- Ozu in Vegas. But then banality set in.

Landis very quickly assumes the role of the Los Angeles Chapter President of The Don Rickles Fan Club. Legions of comics and actors are trotted out (much in the manner of The Aristocrats) to praise the brilliance and hilarity of the master of the comic insult. These interviews are interspersed with clips from Rickles' films -- Kelly's Heroes, Run Silent, Run Deep, The Rat Race, X: The Man With the X-Ray Eyes, Beach Blanket Bingo -- along with television excerpts from The Tonight Show and The Dean Martin Celebrity Roasts. The Man Himself is interviewed and asked to comment on his life and art. Centering the whole mishmash is footage of Rickles' nightclub act at the Stardust -- an act Rickles had heretofore adamantly refused to be filmed.

Continue reading: Mr. Warmth:The Don Rickles Project Review

The Lonely Guy Review


Excellent
Before Arthur Hiller lost his mind and his talent, he produced this oddball Steve Martin flick, wherein an oblivious cuckold of a boyfriend is dumped by his girlfriend and quickly becomes a "lonely guy," '80s parlance for a loser bachelor. With pal Charles Grodin (wonderful here), he explores the bar scene, pick-up artistry, and the world of the house plant before writing a bestseller about his experiences and making it big. Funny stuff, though Martin's soliloquies to the camera get a little tiresome.

The Yards Review


Extraordinary
The Yards begins with a rebirth of sorts. A subway train emerges from a tunnel into daylight. It is carrying Leo Handler (Mark Wahlberg) out of the darkness and home, after his time in prison. He has taken the rap for an auto theft circle, one including close buddy Willie (Joaquin Phoenix), and is returning to a grateful homecoming. But The Yards is a dark crime drama, and Leo's future doesn't remain in the light for long in James Gray's impressive, classically styled mini-saga.

Gray, recently appearing with The Yards at the Boston Film Festival, based his tale of New York City subway vendor corruption on his own father's experiences. The filmmaker has given us a well-composed script, deftly flowing through intertwining relations of families, friends, enemies, and politicians. He sustains a hopelessly dim design throughout the film, even having the mind to steal wonderfully from a few Godfather scenes (he claims by accident), and lifting Gordon Willis' outstanding cinematography with his DP, Harris Savides (on purpose). Gray's direction gives us an overriding sense of doom that retains suspense far beyond that of a second-time filmmaker (his first being 1994's grim Little Odessa). But all that is nothing without Mark Wahlberg.

Continue reading: The Yards Review

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