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This massive concert featured performances of these signature Miyazaki film scores composed by Hisaishi, conducting from the piano, and the 200-member New Japan Philharmonic World Dream Orchestra, along with six featured vocalists, the 800 combined voices of the Ippan Koubo, Ritsuyuukai and Little Singers of Tokyo choirs, plus a 160-piece marching band. This is a completely contrary technique to that of any other animation studio, including Disney or Pixar, where the music is composed after the film is finished or almost. Joe Hisaishi work is so influential to the overall film that the studio requests him to compose an “image book” of music, which is an early composition to help to shape the direction and writing before the final production. Director Julian and actress Philbin, the organ grinder and love interest of the count, went on to become instrumental in the production of Lon Chaney's 1925 'The Phantom of the Opera.Studio Ghibli is responsible for dozens of world-famous Japanese animated films such as: Princess Mononoke, Spirited Away, Totoro, Kiki: Delivery Service, Porco Rosso and of course, Howl’s Moving Castle.Īll these films have something else in common, their soundtracks are signed by the great Joe Hisaishi. Because of the controversy, "Merry-Go-Round" was the eighth highest box office attraction for 1923.
MERRY GO ROUND OF LIFE MOVIE
Movie goers, well aware of the studio intrigue, went to the theater to see for themselves how much influence Stroheim had on the final cut. "Where von Stroheim, even in the brief and relatively uneventful scenes that open the movie, manages to pace things perfectly," wrote critic Kindly, "Julian's version merely plods along." Once Julian was hired, the newly-arrived director rewrote Stroheim's script and reshot several of his scenes. A bit of an Ernst Lubitsch touch can be gleaned in these opening sequences as well as a Stroheim-directed scene showing a rowdy banquet with the count and his pals. The first 15 minutes of the movie bear Stroheim's imprint, where he sets a relaxed but lively pace showing the count beginning the day mistreating his attendant.
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But is it the same film that Stroheim was forming in that six weeks before he got canned? Film critic Evan Kindley argues it is not. He was replaced by Rupert Julian, who delivered "Merry-Go-Round" on time and more importantly for Universal on budget. After six weeks into the plodding production where a streetcar derailed, an overloaded studio electrical circuit blew and a rebellion by scores of extras, Thalberg had seen enough and fired his director. And Stroheim delayed filming as his scouts looked for his ideal orangutan, not just any orangutan, to be part of a murder scene. He arranged the actual carriage the real-life Austrian Emperor used before the war to be shipped to the states, seen in the movie's opening sequences. He demanded a real Viennese streetcar for a simple street scene. Shooting in sequence, he was ultimately compromised by his excessive demands for authenticity. Filming took place under Stroheim's direction. Predictably, Stroheim submitted an overblown script filled with unnecessary scenes, which Thalberg took a scalpel to. That way if things went south the talented but undependable eccentric could be replaced without having to reshoot his parts. Thalberg loved the outline, and stipulated Stroheim could continue with completing the script and working on the details in pre-production, with the caveat he could only direct the picture and not act in it. When he returns stripped of his rank, privilege and the loss of his unloved wife, things turn interesting between the two when she discovers who he really is. The war intercedes the relationship between the count and Agnes. Falling in love at first sight, he tells a white lie to her he's a tie salesman, all the while he's preparing for a forced marriage because of his royal heritage. Aimlessly walking around a Vienna amusement park, he comes upon a pretty organ-grinder, Agnes (Mary Philbin), toiling away providing the music for a merry-go-round. He illustrated that change by focusing on an Austrian count, Franz Maxmillian (Norman Kerry), who occasionally goes about dressed as a commoner. Stroheim agreed to formulate a script based on his memory of his native country to illustrate how The Great War changed it. This time, though, during the production of September 1923's "Merry-Go-Round," he was closely overseen by Universal's young but talented primary producer, Irving Thalberg.
![merry go round of life merry go round of life](https://www.themoviethemesong.com/wp-content/uploads/2015/02/The-Suite-Life-of-Zack-and-Cody-3.jpg)
After the struggles Universal Pictures had with director/actor/screenwriter Erich von Stroheim in making the budget-busting 1922 'Foolish Wives,' its president Carl Laemmle surprisingly gave the Austrian another chance.