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Home , At Long Last Love, Cybill Shepherd, Du Barry Was a Lady, You Never Know (musical)

ORIGINAL PETER MOTION PICTURE BOGDANOVICH’S SOUNDTRACK

MUSIC AND LYRICS BY

BURT REYNOLDS SHEPHERD ’S

MUSIC AND LYRICS BY COLE PORTER

MADELINE KAHN • DUILIO DEL PRETE • AND MILDRED NATWICK

Associate Producer FRANK MARSHALL • Music Supervision ARTIE BUTLER Production Design GENE ALLEN • Director Of Photography LASZLO KOVACS Written, Produced and Directed by PETER BOGDANOVICH Technicolor® • Prints by DeLuxe IT’S DE-LOVELY

Nearly 40 years before Les Misérables made feel it differently? You’re frozen into something you did headlines with its cast singing live onscreen, director in an atmosphere that is not particularly conducive to Peter Bogdanovich had the same idea in At Long Last creativity. You’re in a little room with a bunch of Love . Bogdanovich found inspiration for this musicians sitting out there or you’re in a little room with affectionate spoof of 1930s musicals from a volume of the musicians already having done their work and gone Cole Porter lyrics girlfriend gave him home. … The best moments in any film are the ones for Christmas. One song in particular, “I Loved Him that happen by happy accident. If I’d prerecorded the (But He Didn’t Love Me)” — which was ironically later whole score I’d have lost all chance of spontaneity.” cut from the film — inspired him to construct a story Making the task even more challenging, Bogdanovich about “the difficulties of maintaining relationships, and opted to film most of the musical numbers in a how you like one person for sex and another person for continuous take, one that required absolute silence and something else,” Bogdanovich said in Bogdanovich’s no visitors on the set. Picture Shows . The actors had an earwig placed in their ears while Bogdanovich had already used Porter’s songs as the on-set pianist tried to follow wherever their vocal subtle, witty commentary in What’s Up, Doc? But the lines took them. The orchestra tracks were later laid on director cast Shepherd and superstar , top of the vocals in post-production, a technique that neither of whom was known for their musical prowess, had not been used since the early days of movie alongside and Duilio Del Prete, both of musicals. “I wanted it to be loose,” Bogdanovich whom had musical backgrounds. Shepherd at least explained. “If Cybill missed a note, or if Burt got a little paved the way for her onscreen singing debut, releasing off-tempo, that was fine, precisely what I wanted .” a 1974 album, Cybill Does It...To Cole Porter . “We all begged [Peter] to do it differently,” arranger Standard operating procedure for movie musicals and conductor Artie Butler said in our interview, “but he was to have the actors lip-sync to the onset playback of wouldn’t do it. He wanted the actors to have freedom pre-recorded vocal and orchestra tracks. But “it struck to express themselves. In theory, it was a good me as a terribly difficult thing to ask an actor to sing idea. … [But] we were all nuts from this. I wrote two or something two or three weeks before you shoot it and three sets of orchestrations. Finally I got replaced when then not worry about anything when they’re doing the they brought on another orchestrator, then he got scene except getting their lips in sync with what they did replaced. Then I brought on two more orchestrators. I three weeks ago,” Bogdanovich explained in finally had to share my credit with Lionel Newman. … Bogdanovich’s Picture Shows . “What happens if they Peter’s intentions were wonderful. They were creative

in spirit. … [But] Peter, God bless him, didn’t know a orchestra, as well as a new dance piece called Hare , best — “The movie turned out to be lots of people’s clarinet from a tuna fish sandwich. He had musical choreographed by Peter Gennaro, featuring puppets, the favorite. I don’t give a shit what the critics say! Does taste but no musical knowledge.” Rockettes, and The Radio City Music Hall Bunnies. anybody ?” “The studio loved the dailies and rushed to get a great And, in keeping with the spirit of Bogdanovich’s The film did find a few champions like New York booking at the glorious Radio City Music homage to ’30s musicals, a 1934 Fox Movietone and the London critics. After the London opening, nine Hall,” Bogdanovich explained in a 2013 piece he wrote newsreel accompanied the film, showing 51,000 people minutes’ running time was cut from the film, including on Indiewire. “Unlike all original Broadway musicals, enjoying the Roosevelts’ Easter Egg-rolling festivities at two complete musical numbers (“From Alpha to which preview out-of-town for weeks sometimes, we the White House, water babies having their hair sprayed Omega,” sung by Del Prete and Kahn, and Shepherd had exactly two previews and consequently were never with cellophane, Uncle Sam burning $8 million in and Kahn’s “I Loved Him” duet) as well as parts of three able to get the picture into the right balance between counterfeit money, and George Bernard Shaw telling others, though they were included on the two-LP songs and dialog scenes — which is the toughest and America, “Get rid of your Constitution because it’s soundtrack. Variety called the album “tasteful and well most important thing to perfect in a musical — and so keeping you from getting anything done.” Shepherd played throughout.” But even with a double LP, the we were rushed into opening a show that really wasn’t worked hard plugging the film, co-hosting The Mike album jettisoned Kahn’s “Down in the Depths (On the ready at all.” Douglas Show , and joining Bogdanovich and Reynolds 90th Floor)” opening number and Del Prete’s delightful opened during Easter Week in the on The Dinah Shore Show . But, as Billy Wilder was “Tomorrow”. type of lavish program that harkened back to the glory famously quoted, “Hollywood is united in one thing — The film was shown on HBO within three months of days of showing films at Radio City. The program its universal hatred of Peter Bogdanovich and Cybill the film’s premiere. And though Bogdanovich recut the featured “Glory of Easter,” an arrangement of Anton Shepherd.” film three times at his own expense, it was never the film they had seen,” said Bogdanovich, “they were Rubinstein’s Kamennoi Ostrow for soloist, chorus, and The New York Post called the film “boldly released on videotape or DVD. He finally caught up not referring to any cut of mine, but to Jim Blakely’s!” innovative” and The New York Times conceded it was with the film 35 years later when it showed up on Though Bogdanovich contractually had final cut on beautifully and wittily set, costumed, decorated and . “Watching the movie as it streamed by,” he said the film, he liked Blakely’s version and it was this scored,” but there was little love on display from the on Indiewire, “I quickly began to realize that it was version that was finally released on Blu-ray in 2013 East Coast contingent. “What was reviewed was Peter quite a different version than either the theatrical or the (with an isolated score track), adding one more 90- and Cybill’s relationship,” Reynolds said later in Picture TV editions. … It was an edit that, if anything, was second sequence that was in need of major restoration. Shows . “Peter had done something that all critics will much closer to the very first preview cut which we had “The result is an absolute joy for those of us who toiled never forgive him for doing. That is, stop being a critic, discarded in dismay. But it was sharper, better. In fact, so hard on it, lo those many moons ago,” said go make a film, and have that film, The Last Picture it was the best version of the movie I had ever seen. Bogdanovich on Indiewire. “It’s the movie we had Show , become enormously successful. Well, what he And I loved it!” wanted to make, in all its intended glory, resurrected by did then was go on talk shows and be rather arrogant This particular edit came from James Blakely, who a man none of us had ever met, but to whom we will be and talk about how bad critics are. That was the final had been in charge of the 20th Century Fox editorial eternally grateful.” straw. So they were all waiting with their hatchets and department for decades. Blakely took the dailies and With the Blu-ray and now the premiere of the original knives. And along came Peter, and gave them restructured the film following the original script, and it soundtrack on CD, the film has finally been given the something they could kill him with.” Never one to was his version that had been shown on TV and cable. proper love . . . at long last. mince words, Eileen Brennan perhaps summed it up “So, all those times people came over to me and praised — Jim Lochner

The sixteen songs featured in At Long Last Love and the stars who originally introduced them on Broadway. 1. LET’S MISBEHAVE (cut prior to opening) 9. IT’S DE-LOVELY , Bob Hope • Irene Bordoni • , October 8, 1928, Red, Hot and Blue! , October 29, 1936, Alvin, Music Box Theater, 195 performances. 183 performances. 2. I LOVED HIM Jessie Matthews • 10. AT LONG LAST LOVE • Wake Up and Dream , March 27, 1929, London , September 21 , 1938, Pavilion, 263 performances; December 30, 1929, Winter Garden, 78 performances. Selwyn, 136 performances. 11. FROM ALPHA TO OMEGA Clifton Webb, 3. WHICH Jessie Matthews • Lupe Velez • You Never Know (see above) Wake Up and Dream (see above) 12. MOST GENTLEMEN DON’T LIKE LOVE 4. FIND ME A PRIMITIVE MAN Evelyn Hoey • Sophie Tucker • Leave It to Me , November 9, , November 27, 1929, 1938, Imperial, 307 performances. Lyric, 254 performances. 13. FRIENDSHIP Ethel Merman, • 5. Ethel Merman • , December 6, 1939, , November 21, 1934, Alvin, 46th Street, 408 performances. 420 performances. 14. WELL, DID YOU EVAH? , 6. YOU’RE THE TOP Ethel Merman, • Du Barry Was a Lady (see above) William Gaxton • Anything Goes (see above) 15. BUT IN THE MORNING, NO Ethel Merman, 7. A PICTURE OF ME WITHOUT YOU Bert Lahr • Du Barry Was a Lady (see above) June Knight, Charles Walters • , 16. POOR YOUNG MILLIONAIRE Burt Reynolds • October 12, 1935, Imperial, 169 performances. At Long Last Love , 20th Century-Fox, 8. JUST ONE OF THOSE THINGS June Knight, March 6, 1975, Radio City Music Hall. Charles Walters • Jubilee (see above) — Miles Kreuger , February 21, 1975

AT LONG LAST LOVE THE ORIGINAL ALBUM NOTES

Musical films are born in many ways. In recent In this glamorous view of Cafe Society, 1935, we are years, most have been adaptations of Broadway hits or first introduced to Brooke Carter (Cybill Shepherd), an remakes of earlier screen successes. The idea for At indigent but ravishing young lady, born to wealth but Long Last Love came to Peter Bogdanovich as he turned now about to be evicted from her hotel suite ( Which ). the pages of Robert Kimball’s voluminous biography, In another part of town, Michael Oliver Pritchard III Cole, which contains the lyrics of almost two hundred (Burt Reynolds), a dashing though somewhat songs by its subject, Cole Porter. worldweary bon vivant ( Poor Young Millionaire ) meets Peter found that many of the Porter lyrics so perfectly the vivacious musical comedy star Kitty O’Kelly captured the essence of an emotion or situation that if (Madeline Kahn), when his limousine almost runs her strung together, a collection of the songs would in down. Like any two people who are thrown together themselves form the basis for a screen story. Working by fate and a careening automobile, they are at once backward from I Loved Him , which suggested the smitten ( You’re the Top ). denouement of a love relationship, Peter evolved the Brooke loses her last three hundred dollars entire structure for the film that has emerged as At Long at the races, but there she encounters a suave Last Love . It is quite simply the tale of two couples who Italian gambler, Johnny Spanish (Dui lio Del Prete). meet accidentally and then, after a while, exchange Pritchard and his manservant Rodney (John Hillerman) partners. attend the Broadway opening of Kitty ‘s new show and In a conventional , when characters find themselves seated next to Johnny and Brooke. begin to sing and dance during a dramatic scene, there After the curtain goes up (Find Me a Primitive Man), is a certain suspension of reality; and the audience is Brooke recognizes Kitty O’Kelly as Kathy Krumm, expected to understand that in real life such musical an old school chum from P.S. 122. Following a outbursts would be expressed in everyday words. This lively reunion backstage, the romantic quartet is not so in At Long Last Love . In Peter’s own words, “I goes out for a night on the town (Friendship) didn’t want to make a musical that was about singing that evolves into a weekend at Pritchard’s and dancing: I wanted to make a musical about some country estate. With a love bug lurking behind people who sing and dance instead of walk and talk.” every bush, Brooke’s companion, Elizabeth (Eileen When Duilio Del Prete finishes serenading Cybill Brennan), begins to pursue the diffident and very Shepherd with You’re the Top , she looks at him a bit proper Rodney ( But in the Morning, No ), as their surprised and exclaims, “ You sing!” employers and their current mates each become

Yet, as Pritchard and Brooke and Kitty and Johnny waltz In Peter’s own words, “It struck me as a terribly of melody that will go along with it. So Artie Butler and dreamily to a closing reprise of At Long Last Love , they difficult thing to ask an actor to sing something two or I sat at the piano. I knew the kind of thing Burt could do cannot quite suppress a fleeting glance at each other’s three weeks before you shoot it and then not worry well, and I knew the kind of attitude the scene required, partner and wonder if they have made the right choice. about anything when they’re doing the scene except and the lyrics themselves dictated a certain musical As one might expect in a Peter Bogdanovich movie, getting their lips in sync with what they did three weeks progression. So I hummed something and Artie would there is a reverence for the classic traditions of the ago. What happens if they feel it differently? You’re play it. It isn’t really a song as much as it is a number, elegant musical films of the 1930s, yet a completely frozen into something you did in an atmosphere that is something to introduce the character and his mood. fresh approach to expressing these traditions for the not particularly conducive to creativity. You’re in a little Well, we sat at the piano and did it in about an hour. I . For example, Peter has retained all the original room with a bunch of musicians sitting out there or hope Cole won’t mind.” Porter lyrics (both verse and chorus), including those you’re in a little room with the musicians already having When asked his feelings about musical films, Peter’s that might have once seemed a bit too wicked for the done their work and gone home.” response was swift and certain: “I love it. It’s the only Lionel Newman “lays in” Gus Levene’s orchestration to a number that delicate sensibilities of moviegoers. And he has At Peter’s request, the Fox sound department in genre I’ve touched upon that I want to go back to often. Cybill Shepherd has already recorded live during filming generously given his audience no fewer than sixteen association with Sycom, Inc., rigged up a number of tiny I’m just crazy about it. It’s the most difficult and the intoxicated with the exquisite condition of being in At different Porter songs to gratify the public’s hunger to speakers that were implanted into the ears of the six most fun too.” It is with this attitude of unrestrained Long Last Love . hear witty words and gracious melodies in an age of principals so unobtrusively that they could not be seen exuberance that Peter’s sextet of bright and charming Pressured by his mother (Mildred Natwick) into rock and roll clatter. As a nod to the visual sheen of the by the cameras. An electronic piano silently beamed the mummers bound through their sixteen Cole Porter attending a country club social, Pritchard and his guests ‘30s musicals, almost all the sets, props, and costumes accompaniment into these speakers as the principals ditties. twit the stuffiness of high society’s manners ( Well, Did are designed in black-and-white, with the colors of performed their songs, and the microphones were able — Miles Kreuger , February 20, 1975 You Evah? ), when suddenly he and Brooke find nature photographed as a filtered, subdued to pick up only the voices. After the film was entirely themselves alone in a moonlit garden locked in each counterpoint. edited, the orchestrations, largely by Gus Levene, were other’s arms. Discreetly, their lovers, Kitty and Johnny, The most unusual aspect of production was Peter’s added under the musical direction of Lionel Newman Sound stage conference with Orchestrator Gus Levene, Peter Bogdanovich, drive back to town in a taxi and vow to make their rivals determination to film and record the musical numbers and Artie Butler. Associate Producer Frank Marshall and Musical Director Lionel Newman jealous with an ardent, though mock, display of simultaneously. This was the method employed in all Not only does At Long Last Love mark the musical affection ( From Alpha to Omega ) that they will turn on the earliest musical films, particularly those brilliant screen debuts of its stars, Burt Reynolds and Cybill wherever Pritchard escorts Brooke: a ball game, the gems of satire directed by . By late 1932, Shepherd (though Miss Shepherd did sing one song, also fights, and even a movie theater. the studios felt that it would be more expedient to recorded live in Daisy Miller ), but it also introduces In time, the relationship of Pritchard and Brooke prerecord all the songs in order to attain a more Peter Bogdanovich, songwriter, who observes, “ There deepens and changes ( Let’s Misbehave , It’s De-Lovely , controlled quality of sound from both a vocal and was a song I had on my list that I liked very much called Just One of Those Things ). Jealousy, feelings of guilt and orchestral point of view: and it is this method of Poor Young Millionaire . I had found out from the Cole remorse ( I Get a Kick Out of You ), and even an attempt prerecording that has been used ever since. What was Porter estate that there was no music extant and it was to dismiss Cupid’s sting ( Most Gentlemen Don’t Like lost by the gain in control was of course the spark of unknown whether or not Porter had in fact written Love , I Loved Him ) mellow into a warm understanding spontaneity and the sometimes out-of-breath excitement music for that song. Anyway, it didn’t exist now. I wrote that the quartet has finally been paired off as fate if not of a performer’s actually creating a song-and-dance a scene that worked so well with the lyric that I said we’ emotion had intended ( A Picture of Me Without You ). before the audience’s eyes. ll just have to sit down and write a Cole Porterish kind

1. TWENTIETH CENTURY-FOX 8. MUSICAL INTRO (0:39) / 13. JUST ONE OF THOSE THINGS (2 :40) O O A A T T R R TRADEMARK (FANFARE) (0 :12) BUT IN THE MORNING, NO (2:50) Burt Reynolds • Cybill Shepherd

I I L L G G Eileen Brennan • John Hillerman Duilio Del Prete O O (Alfred Newman) I I N N Burt Reynolds • Cybill Shepherd N N 14. I GET A KICK OUT OF YOU (2:22) A A 2. OVERTURE (3:11) G G L L

AT LONG LAST LOVE 9. AT LONG LAST LOVE (5:51) Cybill Shepherd L L

M M A A YOU’RE THE TOP Duilio Del Prete • Madeline Kahn O O S S Burt Reynolds • Cybill Shepherd 15. Medley (6:35): T T T T I GET A KICK OUT OF YOU MOST GENTLEMEN

I I O O L L IT’S DE-LOVELY 10. WELL, DID YOU EVAH? (5:25) O O DON’T LIKE LOVE (3:28) N N V V JUST ONE OF THOSE THINGS

Burt Reynolds • Madeline Kahn Eileen Brennan • Cybill Shepherd P P E E I Cybill Shepherd • Duilio Del Prete I C 3. WHICH (3:00) Madeline Kahn C T Mildred Natwick, Et Al I LOVED HIM T U Cybill Shepherd • Eileen Brennan U R 11. FROM ALPHA TO OMEGA (1 :58) (BUT HE DIDN’T LOVE ME) (3:07) R E 4. POOR YOUNG MILLIONAIRE (2:15) Madeline Kahn • Cybill Shepherd E

Duilio Del Prete • Madeline Kahn S (Cole Porter / Artie Butler / Peter Bogdanovich) S O 12. (8:15): 16. Medley (6:27): O U Burt Reynolds • John Hillerman Medley U A PICTURE OF ME N LET’S MISBEHAVE (2:36) N D 5. YOU’RE THE TOP (7:36) Cybill Shepherd • Burt Reynolds WITHOUT YOU (2:34) D T Burt Reynolds • Madeline Kahn T R IT’S DE-LOVELY (2 :46) Burt Reynolds • Cybill Shepherd R A Duilio Del Prete • Cybill Shepherd Burt Reynolds • Cybill Shepherd Madeline Kahn• Duilio Del Prete A C C K AT LONG LAST LOVE K 6. FIND ME A PRIMITIVE MAN (3:52) BUT IN THE MORNING, NO (0 :51 ) (Instrumental) (1:58) Madeline Kahn John Hillerman • Eileen Brennan IT’S DE-LOVELY (0:35) FINALE (Instrumental) (1:55) 7. FRIENDSHIP (2:17) Cybill Shepherd • Burt Reynolds YOU’RE THE TOP (0:42) Madeline Kahn • Cybill Shepherd LET’S MISBEHAVE (1 :27) I GET A KICK OUT OF YOU (0:35) Burt Reynolds • Duilio Del Prete Cybill Shepherd • Burt Reynolds JUST ONE OF THOSE THINGS (0:38)

MUSIC AND LYRICS BY COLE PORTER

Produced by Joe Reisman • Reissue Produced by Cary E. Mansfield and Bill Pitzonka Art Direction for Varèse Sarabande Records: Bill Pitzonka • Mastered by Steve Massie for Steve Massie Productions Notes by Jim Lochner • Remixing Engineer for RCA Records: Mickey Crofford For Twentieth Century-Fox — Re-recording Supervision: Frank Marshall • Music Editor: Kenneth Wannberg Orchestrators: Gus Levene , Harry Betts , Artie Butler • Orchestral Recordings: Ted Keep Vocal Recording: Barry Thomas • Re-recording Mixer: Theodore Soderberg Varèse would like the following people at Sony — Business Affairs: Toby Silver • Copyright Coordinator: Pam Narine Production Coordinator: Phil Zaks • SMCMG Producer: Henry Towns • A&R Coordinator: Katie Panicali V V A A R R È È S S Originally released on RCA ABL2-0967, 1975 E E 3 3

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