Bronislau Kaper
Ses · 1902 – 1983 · Warsaw, Poland
From Wikipedia, the free encyclopedia Bronisław Kaper ([brɔniswaf ˈkapɛr], February 5, 1902 – April 26, 1983) was a Polish film composer who scored films and musical theater in Germany, France, and the USA. The American immigration authorities misspelled his name as Bronislau Kaper. He was also variously credited as Bronislaw Kaper, Bronislaw Kapper, Benjamin Kapper, and Edward Kane. Kaper is now perhaps best remembered as the composer of the jazz standards "On Green Dolphin Street" (lyrics by Ned Washington) and "Invitation" (lyrics by Paul Francis Webster) which were originally the respective title tracks for Metro-Goldwyn-Mayer's films Green Dolphin Street (1947) and Invitation (1952). He also scored the MGM film musical Lili (1953) for which he received the Academy Award for Best Original Score, MGM's 1962 remake of Mutiny on the Bounty, and the TV series The F.B.I. (1965–1974).
Filmler2
Film6.6DramRomantikA beautiful singer and a battling priest try to reform a Barbary Coast saloon owner in the days before the great earthquake and subsequent fires in 1906.
San Francisco
1936 · 89 votes
Film5.4BelgeselMüzikA short history of movie music is presented, from silent films accompanied by a single piano, to the elaborate song scores for musicals (with scenes from MGM's musicals) and background music for dramas. Conductor/composer
We Must Have Music
1942 · 7 votes
Diziler1
Dizi9.0BelgeselBased on extensive interviews, shot on 16mm in a series of static long takes, Filmemigration aus Nazideutschland, is one of the most fascinating examples of "Film history on film" ever produced. Straschek devoted years to researching the topic and accumulating both film and non-film materials. Apart from some radio features and articles, however, this 290-minute TV programme remains the only published trace of Straschek's lifelong work on the emigration of film personnel. He had intended to publish a three-volume book, encompassing all available data about 3,000 emigrants originating from the centre and peripheries of film production, but the book never materialised.