It was recorded by Harry James and his Orchestra with Helen Forrest on vocal on July 31, 1942. This was the last day of recording before the Musician Union's ban. The recording was issued on Columbia 36668 and became a number one hit on both the pop and the Harlem Hit Parade in the USA in early 1943. This version of the song can be heard in Woody Allen's 1986 movie Hannah and Her Sisters.
"You Made Me Love You (I Didn't Want to Do It)" is a popular song. The music was written by James V. Monaco, the lyrics by Joseph McCarthy. The song was published in 1913. It was introduced in the Broadway revueThe Honeymoon Express.
Harry James performed a well-known instrumental version of the song as a trumpet solo, issued in 1941 as the reverse side of 'A Sinner Kissed An Angel'. It topped the charts in 1941.
Helen Forrest with Harry James and His Music Makers perform it in the opening of Private Buckaroo (as seen above).
Abrupt medium close-up of Alvy Singer doing a comedy
monologue. He wearing a crumbled sports jacket and tieless
shirt; the background is stark.
There's an old joke. Uh, two elderly
women are at a Catskills mountain
resort, and one of 'em says: "Boy,
the food at this place is really
terrible." The other one says, "Yeah,
I know, and such... small portions."
Well, that's essentially how I feel
about life. Full of loneliness and
misery and suffering and unhappiness,
and it's all over much too quickly.
The-the other important joke for me
is one that's, uh, usually attributed
to Groucho Marx, but I think it
appears originally in Freud's wit
and its relation to the unconscious.
And it goes like this-I'm
paraphrasing: Uh... "I would never
wanna belong to any club that would
have someone like me for a member."
That's the key joke of my adult life
in terms of my relationships with
women. Tsch, you know, lately the
strangest things have been going
through my mind, 'cause I turned
forty, tsch, and I guess I'm going
through a life crisis or something,
I don't know. I, uh... and I'm not
worried about aging. I'm not one o'
those characters, you know. Although
I'm balding slightly on top, that's
about the worst you can say about
me. I, uh, I think I'm gonna get
better as I get older, you know? I
think I'm gonna be the-the balding
virile type, you know, as opposed to
say the, uh, distinguished gray, for
instance, you know? 'Less I'm neither
o' those two. Unless I'm one o' those
guys with saliva dribbling out of
his mouth who wanders into a cafeteria
with a shopping bag screaming about
Annie and I broke up and I-I still
can't get my mind around that. You
know, I-I keep sifting the pieces of
the relationship through my mind and-
and examining my life and tryin' to
figure out where did the screw-up
come, you know, and a year ago we
were... tsch, in love. You know, and-
and-and... And it's funny, I'm not-
I'm not a morose type. I'm not a
"Chapter one. He adored New York City. He idolised it all out of proportion. "
Uh, no. Make that "He romanticised it all out of proportion. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin."
Uh... no. Let me start this over.
"Chapter one. He was too romantic about Manhattan, as he was about everything else. He thrived on the hustle, bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles."
Ah, corny. Too corny for a man of my taste. Let me... try and make it more profound.
"Chapter one. He adored New York City. To him, it was a metaphor for the decay of contemporary culture. The same lack of integrity that caused so many people to take the easy way out... ... was rapidly turning the town of his dreams..."
No, it's gonna be too preachy. I mean, face it, I wanna sell some books here.
"Chapter one. He adored New York City, although to him it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitised by drugs, loud music, television, crime, garbage..."
Too angry. I don't wanna be angry.
"Chapter one. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat."
I love this.
"New York was his town and it always would be."
Sim, é a abertura do "Manhattan" do Woody Allen, um dos meus filmes de sempre para essa cidade. Leiam ao som da Rhapsody in Blue do George Gershwin. O cut&paste é daqui. A fotografia é minha.
Woody Allen está em forma e na New Yorker explica-nos numa breve história de nome "Tails of Manhattan" o motivo pelo qual Madoff se confessou culpado numa das grandes fraudes financeiras de anos recentes. É claro que tinham de ser duas lagostas a ajudar, não fossem os crustáceos uma antiga obsessão do realizador e escritor.
Quando gosto de um filme, tenho dificuldade em falar dele sem ser de forma fragmentária e impressionista. Assim seja.
Pergunto-me se "Vicky Cristina Barcelona" se teria chamado em tempos, num primeiro draft, "Vicky Cristina Juan Antonio" ou "Vicky Cristina Maria Elena". Talvez não, mas a verdade é que o nome da cidade assenta perfeito ao título e me deixa sorrindo baixinho.
Mal a voz do narrador começa a falar, sinto um incómodo notório por não ser a voz do próprio Woody Allen. Relembro o começo de "Manhattan", outro filme, outra cidade. Sem margem para dúvida a mesma voz, as mesmas fantasias, o memos amor das mulheres e das lugares e da cultura, o mesmo sentido de humor.
O filme tem um narrador presente porque é um conto, uma história eve de verão. "Deixem-me contar-vos das minhas férias em Barcelona", diria alguém com um copo de vinho à frente. E toda a gente ficaria interessada, à mera menção do nome da cidade - saltem dois parágrafos atrás e releiam.
E é tão divertido, Javier Bardem pedindo sempre a Penelope Cruz - desculpem, não os actores, as respectivas personagens - pedindo que ela fale inglês, "para que te intienda!"
Eu nomeava este guião. Por muito que seja um clássico Woody Allen, sem nos levar particularmente mais longe, por muito que tenha algum cliché no confronto Europa-América ou mesmo no olhar sobre a cultura da cidade, sobrevoado, há frases deliciosas, que mostram um mestre no topo da sua forma.
Pergunta Juan Antonio a Cristina, antes de a levar para a cama, "and what do you want in life besides a man with the right shorts?". Um pouco mais tarde, diz ela "if you don't start undressing me soon, this is gonna turn into a panel discussion". Muito mais tarde no filme, sentencia Maria Elena, "que es como una enfermedad, que no, que nunca le va a bastar con nada!". Mas talvez a palavra final seja de Vicky, "I'm quite delighted with the way things turned out."
E há a música, claro, ou não fosse um filme de Woody Allen, a guitarra, muito guitarra, de Paco de Lucia, Juan Serrano, Juan Quesada, Emilio de Benito, mas o que fica mesmo é Giulia y los Tallarini cantando "Barcelona es poderosa!".