Godard's first feature has been widely hailed as one of the most influential motion pictures ever made. On the run after killing a cop, a small-time crook (Belmondo) hides out in Paris with an American girl (Seberg). After she betrays him, he chooses to face his fate with an absurd stoicism modelled on his hero, Humphrey Bogart. BREATHLESS is the arguable cornerstone of the French New Wave, exhibiting the trademark documentary shooting style, natural sound design, and thematic interest in the detritus of American popular culture.

As the only clean-living person at his agency, Sam Bissel (Jack Lemmon) is put in charge of its most important account, Nurdlinger's Dairy, headed by straight-laced Simon Nurdlinger (Edward G. Robinson). Sam and his wife Min (Dorothy Provine) celebrate the promotion with longtime friend Janet Lagerlof (Romy Schneider), who has good news of her own. She stands to inherit $15 million – but only if she is happily married. Since Janet has just seperated from her husband, she offers her good neighbor Sam $1 million if he will play the part. As complications multiply, Sam and Janet are forced to continue the charade, both to win her inheritance and to advance his career… Jack Lemmon is in peak form as a harried ad man in this scintillating comedy.

Mehta was twenty-six when he became conductor of the Los Angeles Philharmonic and he stayed for seventeen years, growing into a major conductor. These performances were recorded in 1977 in concert at the Dorothy Chandler Pavilion. Mehta left the following year to take over the New York Philharmonic. Kirk Browning of Live from Lincoln Center was the producer and RCA veteran Max Wilcox was the sound engineer and their work is first-rate. (…) The orchestra plays superbly and Mehta is at his charismatic best. He could pass for either a Hollywood or a Bollywood film star playing a great conductor. Fortunately, he was also a great musician.

Conductor Sergiu Celibidache, who, in his lifetime, did not authorize recordings to be produced of his performances, had a rather unique perspective on tempo. (…) In the present case of Mozart's Requiem, Celibidache's choice of extremely ponderous tempos throughout may be instructive for a while in that listeners can truly appreciate all of the subtle suspensions, inner voices, and other nuances. But listening to the cumbersome pace quickly becomes tedious. Even movements that are traditionally slower, such as the Tuba mirum and Sanctus, are made even broader. The performance of orchestra, chorus, and soloists is quite clean and well in-tune; the sound quality of the recording is also satisfactory. The tempo choice alone makes this CD a questionable choice for listeners seeking to discover Mozart's Requiem. ~ Mike Brownell, All Music Guide

Ivan Rebroff (31 July 1931 – 27 February 2008) was a German singer, allegedly of Russian ancestry, with an extraordinary vocal range of four and a half octaves, ranging from the soprano to impressive bass registers.

In one of the most influential performances in movie history, James Dean plays the new kid in town whose loneliness, frustration and anger mirrored those of postwar teens - and still reverberate 50 years later. Natalie Wood and Sal Mineo were Academy Award nominees for their achingly true performances. Director Nicholas Ray was also an Oscar nominee for this landmark chosen as one of the all-time Top 100 American Film by the American Film Institute.

Inhalt
Pierre Bérard wird bei einem Autounfall schwer verletzt und liegt im Sterben. Vor seinem inneren Auge sieht er noch einmal die Stationen seines Lebens. Dinge, die ihm bis dahin belanglos erschienen, haben auf einmal einen ganz anderen Stellenwert…

Synopsis
Pierre (Michel Piccoli), architecte d'une quarantaine d'années, est victime d'un accident de voiture. Ejecté du véhicule, dans le coma, au bord de la route, il revoit son passé et les deux femmes qui comptent dans sa vie, Catherine (Léa Massari) dont il est séparé et qui lui a donné un fils, et Hélène (Romy Schneider), avec qui sa relation amoureuse est à un tournant…

Original Review
Red Heat is quite possible the most peculiar score James Horner has ever written, drawing on influences as diverse as Russian Opera and Starsky and Hutch. The Main and End Titles are probably the best cues on the album: strong, string and percussion based marches (with an element of Glory in there somewhere) with a mixed-voice choir singing in Russian over the music. The effect is rather unusual, but works well in the context of the film. Russian Streets is an interesting action cue, using what I can only assume to be a balalaika to add an eastern touch to standard action fare: dissonant chords on strings, blaring trumpets, an extremely rapid percussion element and tolling bells and a glissando. This then goes into Cleanhead Bust, which starts off rather well: a funky disco beat and a solo saxophone with different synth sound effects here and there, (…)

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