On the week of August 17, 1985, Tears for Fears held the top spot with ‘Shout,’ which spent three weeks at #1.
Right behind it, on its way to its own #1 berth, was Huey Lewis and the News’ ‘The Power of Love,’ lead single of the soundtrack of blockbuster hit Back to the Future. The song plays early in the film as Marty McFly skateboards to school, followed shortly by Lewis himself in a cameo as an uptight school employee.
Throwing back to the week of August 16, 1975, we find the Bee Gees atop the Billboard Hot 100 with ‘Jive Talkin’.’ It was the band’s first #1 hit (and first in the top ten) since 1971’s ‘How Can You Mend a Broken Heart.’ They would have seven more over the next four years.
This was the lead single of the album Main Course, the Bee Gees’ first gold album in the U.S. and the start of a massively successful run that made them one of the top-selling acts in history.
Today wraps up the posts about my recent Vincente Minnelli Marathon. I hope you got at least a taste of the director’s wide-ranging filmography. This was one of my most rewarding cinematic deep dives because I got to really immerse myself in the films of the 40s and 50s, two decades I haven’t explored nearly enough.
My final clip comes from Minnelli’s first film, the 1943 all-Black musical Cabin in the Sky. The beautiful Lena Horne appears in the film as Georgia Brown, the town’s notorious temptress, and ‘Honey in the Honeycomb’ is one of her two musical numbers.
Vincente Minnelli is responsible for so much more than classic musicals, but that’s the genre for which he’ll always be best known. Watching the best scenes from those films, it’s easy to see why.
If I had to limit myself to one song and/or dance scene per Minnelli musical, I’d rank them like this (links provided where available):
Just about every Vincente Minnelli film is based on a novel or theatrical show, and he doesn’t have a writing credit on any of them. And yet, by project selection and the shaping of narratives through his direction, he managed to return to some central themes.
One of those is the tension between work and personal life. That makes sense for a man who was married four times and whose one true love was likely his art. That theme shows up early on in Meet Me in St. Louis, when Mr. Smith has the chance to advance his career by uprooting his family. It shows up in his films about Hollywood, which all detail the negative impact of moviemaking on private lives. Lust for Life does the same for a different sort of artist, Vincent Van Gogh.
Meet Me In Montauk 