Produced by (then husband) Mel Ferrer to allow her to show a maturity in her characterizations, Wait Until Dark gained Audrey Hepburn an Academy Award nomination and eternally imbued her with a classy final girl sheen. As a determined blind woman who fights off a trio of off-kilter assailants, Hepburn definitively glows with strength and determination here.
Nicely, the film’s theme song by Henry Mancini, who composed Moon River, the tune made famous by Hepburn in Breakfast at Tiffany’s, is also sensitively and powerfully rendered by acclaimed jazz and pop artist Sue Raney.
Raney, one of Frank Sinatra’s favorite vocalists, made a number of acclaimed albums prior to working on the film, and his retained a placement as one of the most respected singers of professional musicians and sharp eared music fans alike, as well. She was obviously beloved by the rest of Sinatra’s Rat Pack, too, as witnessed by this fun featured segment on Dean Martin’s variety show.
Proving herself to be the progressive Twitter queen of 2020, the beyond brand Dionne Warwick was formerly best known for her iconic run of silky ‘60s Burt Bacharach-Hal David hits. Several of those unforgettable songs have wound up in such horror and science fiction projects as The Birdbox and Black Mirror. Interestingly, Warwick also sang the (almost ironically romantic) theme song for the Morgan Fairchild slasher-cult classic The Seduction.
Warwick’s prime sense of fun also found its place in her quick appearance in the original Men in Black and with her funky take on songs like (the Luther Vandross produced) Got A Date.
Kim Carnes may have included the track on her 1982 Voyeur LP, but the underrepresented Sue Saad actually sang the theme to the 1981 science fiction thriller Looker on the film’s soundtrack. Along with her band The Next, Saad received a lot of critical acclaim. Unfortunately, the praise didn’t result in album sales. Thus, the band’s self-titled 1980 release was their last to receive major distribution.
The track Young Girl moves from edgy pop to a more Jamaican rhythm, strong proof of the band’s eclectic nature.
Two of Saad’s band mates, James Lance and Tony Riparetti, meanwhile went on to work, extensively, with cult film director Albert Pyun.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
The girl next door. The sweetheart of WWII service men. That seductive minx of 60s romantic comedies. The eternally appealing Doris Day is many things. Even gothic songstress Diamanda Galas is a fan.
But why wouldn’t she be? Day even worked her way, passionately, through a trio of thrillers. The highlight of these might be her collaboration with Alfred Hitchcock, The Man Who Knew Too Much. But in Julie, where Day portrayed a stewardess stalked by her murder happy second husband, a smoothly handsome and totally dangerous Louis Jourdan, she paid full balance to her multiple charms.
Not only does her heroine here save a plane full of passengers by the movie’s end, foreshadowing Karen Black in Airport 75 by decades, but she also sings the film’s lovely theme song. It’s a pretty thing with hints of the turmoil that Julie is about to experience lingering lightly in the song’s lyrics. Day, of course, nails all the moods of the piece with the subtle and true touch of a master at work.
Of course, Day, who now spends much of her time in the pursuit of care and justice for animals, is always, quietly and happily, reachable at www.dorisday.com.
Until the next time – SWEET love and pink GRUE, Big Gay Horror Fan!