Saturday, June 4, 2011

Bette Davis an Intimate Portrait

Margo Channing's famous line, "Fasten your seatbelts. It's going to be a bumpy night," characterizes well the actress who played her in All About Eve--the inimitable Bette Davis. In fact, Davis's son comments in Lifetime's Intimate Portrait: Bette Davis that watching Margo Channing is much like watching Bette Davis. Davis's film career spanned six decades, in which she starred in 112 films, receiving 10 Academy Award nominations and 2 Oscars. Yet her life was not always the charmed one of a starlet; from a broken home, herself three times divorced, once widowed, betrayed by her own daughter's scathing biography, Davis found solace in her work, which didn't always come easy for her. When she first approached Hollywood in 1930, the studios didn't know what to do with such an odd beauty. This portrait of the actress covers a lot of ground, and occasionally leaves you wanting more. However, the snippets of an older Davis giving an interview on the Dick Cavett Show are a wonderful glimpse into the regal queen of the screen.
Intimate Portraits skillfully weaves together film clips, interviews with friends and family members, and clips of Davis in later speeches and interviews, making this video a solid overview of one of the first ladies of cinema.
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Wednesday, June 1, 2011

Film,Jane Eyre 1944

Jane Eyre (1944) is a classic film adaptation of Charlotte Brontë's 1847 novel of the same name, made by 20th Century Fox. It was directed by Robert Stevenson and produced by William Goetz, Kenneth Macgowan, and Orson Welles (uncredited). The screenplay was by John Houseman, Aldous Huxley, Henry Koster, and Robert Stevenson, from the novel by Charlotte Brontë. The music score was by Bernard Herrmann and the cinematography by George Barnes.
The film stars Orson Welles, Joan Fontaine, Margaret O'Brien, Peggy Ann Garner, Sara Allgood, Henry Daniell, Agnes Moorehead, John Sutton, with Betta St. John and Elizabeth Taylor making early, uncredited appearances.

Plot

Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner).


Production notes

  • The film's screenplay was based on a radio adaptation of the novel by Orson Welles' Mercury Theatre on the Air, which John Houseman collaborated on.
  • The film was acclaimed for its recreation of the Yorkshire Moors. It was actually filmed entirely in Hollywood on a heavily disguised sound stage. The long shadows and heavy fog, which added the air of a Gothic novel lacking in so many remakes, were rumored to have been the brainchild of Orson Welles. He was offered a producer's credit as thanks for his contribution but declined the offer, believing that a person who is not a director shouldn't be "just" a producer.
  • This was the 7th film version of the novel.
Tagline: A Love Story Every Woman would Die a Thousand Deaths to Live!

Cast

Quotes

The film begins with a voice over from Jane Eyre (an original contribution by the screenwriters):
My name is Jane Eyre... I was born in 1820, a harsh time of change in England. Money and position seemed all that mattered. Charity was a cold and disagreeable word. Religion too often wore a mask of bigotry and cruelty. There was no place for the poor or the unfortunate. I had no father or mother, brother or sister. As a child I lived with my aunt, Mrs. Reed of Gateshead Hall. I do not remember that she ever spoke one kind word to me.
 
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Film Rebecca 1940

Rebecca is a 1940 psychological/dramatic noir thriller directed by Alfred Hitchcock as his first American project, and his first film produced under his contract with David O. Selznick. The film's screenplay was an adaptation by Joan Harrison and Robert E. Sherwood from Philip MacDonald and Michael Hogan's adaptation of Daphne du Maurier's 1938 novel of the same name, and was produced by Selznick. It stars Laurence Olivier as the aristocratic widower Maxim de Winter, Joan Fontaine as his second wife, and Judith Anderson as the housekeeper, Mrs. Danvers.
The film is a gothic tale about the lingering memory of the title character, Maxim de Winter's dead first wife, which continues to haunt Maxim, his new bride, and Mrs. Danvers. The film won two Academy Awards, including Best Picture out of a total 11 nominations. Olivier, Fontaine and Anderson were all Oscar nominated for their respective roles. Since the introduction of awards for actors in supporting roles, this is the only film named Best Picture that won no other Academy Award for acting, directing or writing.
It was the opening film at the 1st Berlin International Film Festival.

Plot

The film begins with a voiceover of a woman speaking the first lines from the novel: "Last night I dreamt I went to Manderley again", to the images of a ruined country manor. She continues that she can never return to Manderley — as it no longer exists, except as a ruin.
Joan Fontaine plays a young woman (who is never named), an orphan, who works as a paid companion to the wealthy Edythe Van Hopper (Florence Bates). In Monte Carlo, she meets the aristocratic widower Maximilian (Maxim) de Winter (Laurence Olivier) and they fall in love. Within weeks, they decide to get married.
Maxim takes his new bride to Manderley, his country house in Cornwall, England. The servants accept the new Mrs. de Winter as the new lady of the house. The exception is the housekeeper, Mrs. Danvers (Judith Anderson), who is particularly unpleasant to the new bride. She is still obsessed with the beauty and sophistication of the first Mrs. de Winter -- the eponymous Rebecca -- and preserves her former bedroom as a shrine, even cherishing her handmade underwear and expensive négligée. Rebecca's "cousin" Jack (George Sanders) (who, as we only discover later, was in fact one of her lovers) appears at the house when Maxim is away, and evidently knows Mrs. Danvers well, calling her by the name "Danny", which was Rebecca's pet name for her.
The new Mrs. de Winter is intimidated by Mrs. Danvers and by the responsibilities of being the new mistress of Manderley. As a result, she begins to doubt her relationship with her husband. The continuous presence of Rebecca in the house starts to haunt her, and she convinces herself that Maxim is still in love with Rebecca. She discovers, too, that her husband has a fiery temper, and sometimes erupts at apparently innocent actions on her part.
Mrs. Danvers tries to persuade Mrs. de Winter to leap to her death
Trying to act the perfect wife, Mrs. de Winter suggests to Maxim that they host a costume party as he used to do with Rebecca. Maxim reluctantly consents. Mrs. de Winter excitedly plans her own costume in secret, but Mrs. Danvers suggests that she copy the dress of Caroline de Winter, an ancestor, whose portrait hangs in the upstairs hallway. On the night of the party, Mrs. de Winter reveals her costume to Maxim, who is both surprised and angry at her, shouting at her to change her costume. Mrs. de Winter rushes upstairs, sees Mrs. Danvers go into Rebecca's room and follows her. There she confronts Mrs. Danvers about her knowing that Rebecca had worn the same costume at a previous ball. Mrs. Danvers retaliates by saying that she will never take Rebecca's place and almost convinces Mrs. de Winter to commit suicide. But Mrs. de Winter snaps out of her trance when a sudden commotion starts outside — a ship has been spotted foundering off the coast.
Mrs. de Winter (after changing her outfit) rushes downstairs to the front lawn, where she hears news that, during the rescue, a sunken boat has been found off the coast - with Rebecca's body in it. She spots a distant glow from the cottage on the shore and enters to find Maxim. Maxim admits to his new wife that he had earlier misidentified another body as Rebecca's in order to prevent discovery of the truth. From almost the beginning of their marriage, when Rebecca broke the news to him of her own promiscuous nature, he and Rebecca had hated one another. They had agreed to a sordid deal: she would act the perfect wife and hostess in public, preserving his family honour and her position, while he ignored her discreetly-conducted affairs. Rebecca, however, began to get "careless" after a while, for example disappearing for days on end to London and then returning as though nothing was wrong. Maxim was also aware of Rebecca's ongoing affair with Jack. One night, expecting to find Rebecca and Jack together, Maxim came down to the cottage. Rebecca had been expecting Jack. She told Maxim that she was pregnant with Jack's child. During the ensuing argument, she fell, hit her head, and died. Maxim took the body out in a boat which he then scuttled.
Shedding her girlish innocence, Maxim's wife immediately starts coaching her husband on how best to conceal the facts of Rebecca's death from the authorities.
In the ensuing police investigation, officials question whether the evidently deliberate damage to the boat pointed to suicide. Privately, Jack shows Maxim a letter from Rebecca urging him excitedly to meet her, which seems to suggest she was not suicidal. He tries to blackmail Maxim with the letter, but Maxim tells the police about the attempt. Maxim nevertheless comes under suspicion of murder and the second Mrs. de Winter must face the prospect of losing her husband. The investigation focuses on Rebecca's secret visits to a London doctor (Leo G. Carroll), which Jack presumes was due to what believes to have been her illicit pregnancy. However, the coroner's interview with the doctor in the presence of Maxim and Jack reveals that Rebecca was mistaken in believing herself pregnant, and was in fact suffering from terminal cancer.
The doctor's evidence persuades the coroner to bring in a verdict of suicide. Only Maxim and his wife will be able to understand the full story: that Rebecca had lied to Maxim about being pregnant with another man's child so as to goad him, in full knowledge of his family pride and easily-roused temper, into killing her — as an indirect means of suicide.
As Maxim returns home from London to Manderley, he finds the manor on fire, set alight by the deranged Mrs. Danvers. The second Mrs. de Winter has escaped the blaze, but Danvers dies in the flames.

Adaptation

At Selznick's insistence, the film adapts the plot of du Maurier's novel Rebecca faithfully. However, one plot detail was altered to comply with the Hollywood Production Code, which said that the murder of a spouse had to be punished. In the novel, Maxim shoots Rebecca, while in the film, he only thinks of killing her after she taunts him, whereupon she suddenly falls back, hits her head on a heavy piece of ship's tackle, and dies from her head injuries, so that her death is an accident, not murder. According to the book It's only a Movie, David O. Selznick wanted the smoke from the burning Manderley to spell out a huge "R". Alfred Hitchcock thought the touch lacked subtlety. While Selznick was preoccupied by Gone with the Wind (1939), Hitchcock was able to replace the smoky "R" with the burning of a monogrammed négligée case lying atop a bed pillow. Hitchcock also edited the picture in camera - shooting only what he wanted to see in the final film - a method of filmmaking that did not allow Selznick to reedit the picture. Although Selznick insisted the film be faithful to the novel, Hitchcock made many changes, especially with the character of Mrs. Danvers. In the novel, Mrs. Danvers is something of a jealous mother figure. Her past is mentioned in the book. But in the film, Mrs. Danvers is a much younger character (the actress, Judith Anderson, would have been about 42 at the time of shooting) and her past is not revealed at all. The only thing we know about her is that she came to Manderley when Rebecca was a bride. Hitchcock made her more like a ghostly figure, with possible lesbian undertones (as discussed in the documentary The Celluloid Closet).
The theatrical release of Rebecca was delayed in order to give it a shot at the 1940 Academy Awards - the 1939 Awards would (obviously) be dominated by Gone with the Wind, another Selznick production.

Cast
  • Leonard Carey as Ben
  • Lumsden Hare as Tabbs
  • Edward Fielding as Frith
  • Forrester Harvey as Chalcroft
  • Mary Williams as The Head Maid
  • Keira Tate as The Parlour Maid
  • Rose Trace as The Parlour Maid
  • Sandra Phillip as The Parlour Maid
  • Kelly Sanderton as The Parlour Maid
  • Herietta Bodvon as The Housemaid
Hitchcock's cameo appearance, a signature feature of his films, takes place near the end; he is seen outside a phone box when Jack is making a call.

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Film,Wuthering Heights 1939

Wuthering Heights is a 1939 American black and white film directed by William Wyler and produced by Samuel Goldwyn. It is based on the novel, Wuthering Heights by Emily Brontë. The film depicts only sixteen of the novel's thirty-four chapters, eliminating the second generation of characters. The novel was adapted for the screen by Charles MacArthur, Ben Hecht and John Huston. The film won the 1939 New York Film Critics Award for Best Film. It earned nominations for eight Academy Awards, including for Best Picture and Best Actor. The 1939 Academy Award for Best Cinematography, black and white category, was awarded to Gregg Toland for his work.
In 2007, Wuthering Heights was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
A traveler named Lockwood (Miles Mander) is caught in the snow and stays at the estate of Wuthering Heights, where the housekeeper, Ellen Dean (Flora Robson), sits down to tell him the story in flashback. She tells him of Heathcliff (Laurence Olivier) and Catherine (Merle Oberon) and the troubled relationship they would have: she is born into wealth, and he is a poor stable boy with no expectations for acceptance in regular society.

Cast

Production

The project was initially intended as a vehicle for Merle Oberon, who was under contract with Goldwyn at the time. However, when Laurence Olivier was cast as Heathcliff, Vivien Leigh wanted to play the lead role alongside her then lover and future husband. Studio executives felt the role could not go to an actress who was largely unknown in America, but they did offer Leigh the part of Isabella Linton. She declined, and Geraldine Fitzgerald was cast. Leigh was cast in Gone with the Wind that same year, which won her an Academy Award for Best Actress; Merle Oberon did not receive a nomination for her performance.
There were clashes on the set between actors and the director. Both of the leading players began work on the film miserable at having to leave their loved ones back in the United Kingdom; Olivier missed his fiancée Vivien Leigh and Oberon had recently fallen in love with film producer Alexander Korda. Merle Oberon and Laurence Olivier also apparently detested each other. Witnesses recall Oberon scolding Olivier for accidentally spitting on her during a particularly romantic balcony scene. Oberon shouted back to Wyler, "Tell him to stop spitting at me!" Olivier retorted by shouting, "What's a little spit for Chrissake, between actors? You bloody little idiot, how dare you speak to me...?" Oberon ran crying from the set after the outburst, and Wyler insisted Olivier apologize to her, which upset Olivier greatly.
Olivier also found himself becoming increasingly annoyed with William Wyler's exhausting style of film-making. After countless takes of one scene, he is said to have exclaimed, "For God's sake, I did it sitting down. I did it with a smile. I did it with a smirk. I did it scratching my ear. I did it with my back to the camera. How do you want me to do it?" Wyler's retort was, "I want it better." Olivier in later years was more kind in his opinion about Wyler. In both his autobiography and his book On Acting, he credits William Wyler with teaching him how to act in films, as opposed to on the stage, and for giving him a new respect for films. Olivier had tended to "ham it up", as if he were playing to the second balcony, but Wyler showed him how to act more subtly.
In the final sequence of Wuthering Heights, the spirits of Heathcliff and Cathy are seen walking together hand-in-hand, obviously in love. This scene is not found in the book and, according to literary critic John Sutherland, was likely the stark opposite of what Brontë intended the reader to understand. He contends that a contemporary reader would not have seen Cathy's ghost's actions as a gesture of undying love for Heathcliff but one of towering, protective rage; Cathy haunted Heathcliff to death only to prevent him from cheating her daughter out of her inheritance. Director Wyler hated the idea of the after-life scene and didn't want to do it but producer Samuel Goldwyn vetoed him, and the scene was added after primary filming was complete. As Laurence Olivier and Merle Oberon had already moved on to other projects, doubles had to be used. Goldwyn subsequently claimed, "I made Wuthering Heights, Wyler only directed it."  Goldwyn claimed that Wuthering Heights was his favorite of all his productions. Sutherland writes that this change to the ending has influenced how students view the novel and especially Cathy, who comes across as more passive and accepting of abuse than Brontë may have envisioned.
David Niven remembers the filming of Merle Oberon's deathbed scenes (recorded in his bestselling book The Moon's a Balloon) as less than romantic. He had been given a substance to help it appear as if he were crying, which instead had the effect of making "green goo" come out of his nose.

Awards and honors

Won

Nominated

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Donna Summer














































































LaDonna Adrian Gaines (born December 31, 1948), known by her stage name, Donna Summer, is an American singer/songwriter who gained prominence during the disco era of the 1970s. Summer is a five time Grammy winner and was the first artist to have three consecutive double albums reach number one on the US Billboard chart. She also charted four number-one singles in the US within a thirteen-month period.

Early life and career

Born on New Year's Eve 1948 in the Dorchester neighborhood of Boston, Massachusetts, Summer was one of seven children raised by devout Christian parents. Influenced by Mahalia Jackson, Summer began singing in the church at a young age. In her teens, she formed several musical groups including one with her sister and a cousin, imitating Motown girl groups such as The Supremes and Martha and the Vandellas in Boston.
In the late 1960s, Summer was influenced by Janis Joplin after listening to her albums as member of Big Brother and the Holding Company, and joined the psychedelic rock group the Crow as lead singer. Beforehand, Summer dropped out of school convinced that music was her way out of Boston, where she had always felt herself to be an outsider, even among her own family who ridiculed her for her voice and her looks. The group was short-lived, as they split upon their arrival in New York. In 1968, Summer auditioned for a role in the Broadway musical, Hair. She lost the part of Sheila to Melba Moore. When the musical moved to Europe, Summer was offered the role. She took it and moved to Germany for several years. While in Germany, she participated in the musicals Godspell and Show Boat. After settling in Munich, she began performing in several ensembles including the Viennese Folk Opera and even sang as a member of the pop group FamilyTree – "invented" and created by the German music producer Guenter "Yogi" Lauke & the Munich Machine. She came to the group in 1973 and toured with the 11-people pop group throughout Europe. She also sang as a studio session singer and in theaters. In 1971, while still using her birth name Donna Gaines, she released her first single, a cover of "Sally Go 'Round the Roses", though it was not a hit. In 1972, she married Austrian actor Helmuth Sommer and gave birth to their daughter Mimi Sommer in 1973. Citing marital problems caused by his frequent absences, she divorced him but kept his last name, changing the "o" to a "u".

Early success
It was while singing background for the hit-making 1970s trio Three Dog Night that Summer met producers Giorgio Moroder and Pete Bellotte. She eventually made a deal with the European label Groovy Records and issued her first album, Lady of the Night, in 1974. Though not a hit in America, the album found some European success on the strength of the song "The Hostage", which reached number one in France and Belgium and number two in the Netherlands. Summer's early material consisted of pop rock and folk rock material. She stated years later that had she not recorded disco, she would have been a black rock singer, but considering there was not a market for black rock singers, Summer thought it would be hard to get promoted as such.
In 1975, Summer approached Moroder with an idea for a song he and Bellotte were working on for another singer. She had come up with the lyrics "love to love you, baby". Moroder was interested in developing the new sound that was becoming popular and used Summer's lyric to develop the song. Moroder persuaded Summer to record what was to be a demo track for another performer. She later said that she had thought of how the song might sound if Marilyn Monroe had sung it and began cooing the lyrics. To get into the mood of recording the song, she requested the producers turn off the lights while she sat on a sofa inducing moans and groans. After hearing playback of the song, Moroder felt Summer's seductive version should actually be distributed. Released as "Love to Love You" in Europe, some radios stations refused to play it, but the song found modest chart success in several countries there.
The song was then sent to America and arrived in the office of Casablanca Records president Neil Bogart in hopes of getting a US release. Casablanca was known around the industry for throwing lavish parties. At one of these parties, Bogart, still undecided about releasing the song, had the DJ play "Love To Love You" so he could gauge the reaction of people on the dancefloor. The crowd took to the song (which was less than five minutes) so strongly that they kept asking for it to be played over and over consecutively so they could continue dancing in the same groove. Soon after that night, Bogart informed Summer and Moroder he would release the song but requested that Moroder produce a longer version, about 15 to 20 minutes in length. Moroder, Bellotte, and Summer returned with a 17 minute version that included a soulful chorus and an instrumental break where Summer invoked even more moans. Bogart stated the name would be slightly changed to "Love to Love You Baby" for the American release. Casablanca signed Summer and it released the single in November 1975. The shorter version of the single was promoted to radio stations while clubs received the 17 minute version (the 17 minute version would also appear on the album). When Casablanca released the 17 minute version as a single, it became one of the first record companies to help make popular a format that would later be known as the 12 inch. By early 1976, "Love To Love You Baby" had reached #2 on the US Billboard Hot 100, while the parent album of the same name sold over a million copies. The song generated controversy for Summer's moans and groans and some US radio stations, like several in Europe, refused to play it. Time magazine would report that 22 orgasms were simulated in the making of the song. Other upcoming singles included "Try Me, I Know We can Make It", US #80; "Could It Be Magic", US #52; "Spring Affair", US #58; and "Winter Melody", US #43. The subsequent albums Love Trilogy and Four Seasons of Love both went gold in the US.
In 1977, Summer released the concept album I Remember Yesterday. This album included her second top ten single, "I Feel Love", which reached number six in America and number one in the UK. These Hot 100 entries on the singles chart would help get Summer deemed in the press as "The First Lady of Love", a title which she was not totally comfortable with.
Another concept album, also released in 1977, was the double album, Once Upon a Time, which told of a modern-day Cinderella "rags to riches" story through the elements of orchestral disco and ballads. This album would also attain gold status. In 1978, Summer released her version of the Richard Harris ballad, "MacArthur Park", which became her first number one US hit. The song was featured on Summer's first live album, Live and More, which also became her first album to hit number one on the US Billboard 200 chart, and went platinum selling over a million copies. Other studio tracks included the top ten hit, "Heaven Knows", which featured the group Brooklyn Dreams accompanying her on background and Joe "Bean" Esposito singing alongside her on the verses. Summer would later be involved romantically with Brooklyn Dreams singer Bruce Sudano and the couple married two years after the song's release. Also in 1978, Summer acted in the film, Thank God It's Friday, playing a singer determined to perform at a hot disco club. The film met modest success, but a song from the film, entitled "Last Dance", reached number three on the US Hot 100 and resulted in Summer winning her first Grammy Award. Its writer, Paul Jabara, won an Academy Award for the composition. Despite her musical success, Summer was struggling with anxiety and depression and fell into a prescription drug addiction for several years.
In 1979, Summer was a performer on the world-televised Music for UNICEF Concert. The United Nations organization Unicef had declared 1979 as the Year of the Child. Summer joined contemporaries like Abba, Olivia Newton-John, the Bee Gees, Andy Gibb, Rod Stewart, John Denver, Earth, Wind and Fire, Rita Coolidge and Kris Kristofferson for an hour's TV special that raised funds and awareness for the world's children. Artists donated royalties of certain songs, some in perpetuity, to benefit the cause.

Bad Girls and the break from disco

Following her recovery from prescription drug addiction, Summer worked on her next album with Moroder and Bellotte. The result was Bad Girls, an album that had been in production for nearly two years. Summer based the concept of the album on a prostitute, as was made clear in the lyrics. The album became a success, spawning the number one hits "Hot Stuff" and Bad Girls, and the number two ballad "Dim All the Lights" With MacArthur Park, Hot Stuff, Bad Girls, and the Barbra Streisand duet "No More Tears (Enough is Enough)", which appeared on Streisand's album, Summer achieved four number-one hits within a thirteen month period. Those aforementioned songs, along with Heaven Knows, Last Dance, Dim All The Lights, and On the Radio (from her upcoming double-album) would give her eight US Top 5 singles within a two year period. "Hot Stuff" later won her a second Grammy in the Best Female Rock Vocal Performance, which was the first time that category was ever brought to the award's show. That year, Summer played eight sold-out nights at the Universal Amphitheater in Los Angeles.
Summer released her first greatest hits set in 1979, a double-album entitled On The Radio: Greatest Hits Volumes 1 & 2. The album reached number one in the US, becoming her third consecutive number one album. A new song from the compilation, "On the Radio", reached the US top five. After the release of the greatest hits album, Summer wanted to branch out and record other formats in addition to disco. This led to tensions between her and Casablanca Records. Sensing that they could no longer come to terms, Summer and the label parted ways in 1980, and she signed with Geffen Records, the label started by David Geffen. Summer's first release on Geffen Records was The Wanderer; it replaced the disco sound of Summer's previous releases with more of the burgeoning new wave sound and elements of rock, such as the material being recorded at this time by Pat Benatar. The first single, the title track, became a hit and peaked at #3 in the US, subsequent singles were moderate hits. The album achieved gold status in the US, but met limited success on the UK charts.
Summer's projected second Geffen release, entitled I'm a Rainbow, was shelved by Geffen Records (though two of the album's songs would surface in soundtracks of the 1980s films Fast Times at Ridgemont High and Flashdance). Summer reluctantly parted company with Moroder after seven years working together as Geffen had recruited Quincy Jones to produce her next album. The result was the 1982 album Donna Summer. The album had taken a lengthy six months to record. The album's first single, the dance-funky "Love Is in Control (Finger on the Trigger)", became an American top ten hit on the Hot 100. The next singles, "State of Independence"(#41 pop) and "The Woman In Me"(#33 pop), were moderate hits. Problems then increased between Summer and Geffen Records after they were notified by Polygram Records, the parent company of Summer's former label Casablanca, that she needed to deliver them one more album to fulfill her agreement with them. Summer delivered the album "She Works Hard for the Money" and Polygram released it on its Mercury imprint in 1983. The title song became a hit reaching number three on the US Hot 100, and Summer would receive a Grammy nomination for this song. The album also featured the reggae-flavored top 20 UK hit "Unconditional Love", which featured the group Musical Youth who were riding high from the success of their single "Pass the Dutchie". The third US single, "Love Has A Mind of Its Own", reached the top forty of the Billboard R&B chart. With the album She Works Hard For the Money being certified gold, spawning a US and a European hit, and receiving a Grammy nomination for the title song, David Geffen was reportedly upset that the album was a success but had not been released by his label, with whom Summer was currently contracted.
In late 1984, with no more albums due to Polygram, Summer returned on Geffen Records with her next release. Geffen, wanting to keep the momentum going, enlisted She Works Hard For the Money's producer Michael Omartian to produce Cats Without Claws. The album, however, was not as successful as She Works Hard For the Money or The Wanderer. It included a moderate hit in "There Goes My Baby", which just missed the US Top 20, peaking at #21. But the album failed to attain gold status of 500,000 copies sold in the US, becoming her first album since her 1974 debut not to do so.
Summer experienced success in the 1980s with several hit singles and gold albums, but she was mainly seen as a disco artist from the 70s, along with acts such as Gloria Gaynor, the Bee Gees, and KC and the Sunshine Band. In the 1980s, other acts began to make their impression on the music charts. The New Wave sounds of the Second British Invasion was very high profile, which included Culture Club, Wham, and the Eurythmics among others. Laura Branigan found success in a dance power-belt singing style reminiscent of Summer. Established American Soul singers like Michael Jackson, Aretha Franklin, and Chaka Kahn experienced pop chart success in this period, and new American singers such as Cyndi Lauper, Madonna, and Whitney Houston had redirected the tastes of the record-buying public in the 1980s.

Later career and current work

In 1987, Summer returned with the album All Systems Go, which did not sell well, becoming her second consecutive album not to go gold. It featured the minor US hit of Brenda Russell's composition "Dinner with Gershwin". The song, however, became a UK hit. The title song, "All Systems Go", was a UK only release, and it became a minor hit in that country. For Summer's next release, Geffen Records hired and paired the artist with the hit production team of Stock Aitken Waterman. SAW as they were also known, had experienced very strong success by writing and producing for such acts as Kylie Minogue, Dead Or Alive, Bananarama, and Rick Astley among others. However, Geffen decided not to release the album, entitled Another Place and Time, and Summer and Geffen Records parted ways in 1988.
Another Place and Time was released in Europe on Warner Bros. Records, which had been Summer's label of release in Europe since 1982. The single "This Time I Know It's For Real" had become a top ten hit in several countries in Europe, sparking Warner Bros. sister company under WEA, Atlantic Records, to sign Summer in the US and pick up the album for a North American release in 1989. Atlantic, too, had great success with the single as it peaked at #7 on the Hot 100 in America. The single was certified gold, becoming her twelfth gold single in the US. It became Summer's final top forty hit on the American pop charts. She scored two more UK hits from the album, "I Don't Wanna Get Hurt" (UK #7) and "Love's About To Change My Heart" (UK #20).
In 1991, Summer released the new jack swing-driven album Mistaken Identity. It did not sell strongly, but it did contain the #18 R&B hit "When Love Cries".
In 1993, Polygram Records released an extended greatest hits collection entitled "The Donna Summer Anthology". It included over two and a half hours of music from 34 songs. It not only included songs from the Polygram-owned labels of Casablanca and Mercury, but also material from Atlantic and Geffen Records as well.
In 1994, Summer return with a new album on Mercury/Polygram, a gospel-influenced Christmas album entitled Christmas Spirit. It included classic Christmas songs such as "O Holy Night", "Joy To The World", and "O Come All Ye Faithful" as well as some original songs.
Some of Summer's dance releases including "Carry On" (her first collaboration with Moroder in a decade) and "Melody of Love (Wanna Be Loved)" charted on the US Dance Chart, with "Melody of Love" reaching number one on that chart and also reaching number 21 on the UK Singles Chart
Also in 1994, Polygram would release yet another Summer album (Polygram's third Summer album within a two year period); a collection called "Endless Summer: Greatest Hits". The differences between this greatest hits album and the Anthology collection would be that this package contained 18 songs, while Anthology contained 34; and the songs here were mainly the radio versions heard at the time of their release, while Anthology contained somewhat longer versions of the songs.
While touring, Summer found work as an actor guest-starring on the sitcom Family Matters as Steve Urkel's (Jaleel White) Aunt Oona in 1994 and again in 1997. In 1998, Summer received a Grammy Award for Best Dance Recording, being the first to do so, after a remixed version of her 1992 collaboration with Giorgio Moroder, "Carry On", was released in 1997. In 1999, Summer taped a live television special for VH1 titled Donna Summer – Live and More Encore, producing the second highest ratings that year for the network, after their annual Divas special. (Incidentally, Donna appeared the next year on the third annual concert, honoring Diana Ross and singing her own hits.) A CD of the event was released by Epic Records and featured two studio recordings, "I Will Go with You (Con te partirò)" and "Love Is the Healer". Summer scored top ten hits on Billboard's Dance Chart in the beginning of the new millennium. In 2004, Summer was inducted to the Dance Music Hall of Fame alongside The Bee Gees and Barry Gibb as an artist. Her classic song, "I Feel Love", was also inducted that night. Also, that year, she became one of the first acts, as both an Artist Inductee and a Record Inductee (for 1977’s “I Feel Love”) into the Dance Music Hall of Fame in New York City. It is estimated that Donna Summer has sold more than 130 million albums and singles worldwide and It was commented on her interview with David Letterman and others.
In 2008, Summer released her first studio album of original music in 14 years entitled Crayons, which brought her American success, peaking at #17 on the US Top 200 Album Chart, and modest international success. The album was released on the Sony BMG label Burgundy Records. The songs "I'm A Fire", "Stamp Your Feet", and "Fame (The Game)" reached number one on the US Billboard Dance Chart. The ballad "Sand on My Feet" was released to adult contemporary stations and reached number thirty on that chart.
While commenting on the album, Summer said, “I wanted this album to have a lot of different directions on it. I did not want it to be any one baby. I just wanted it to be a sampler of flavors and influences from all over the world. There’s a touch of this, a little smidgeon of that, a dash of something else…like when you’re cooking.”
On the song “The Queen Is Back,” Donna Summer reveals her wry and witty self-awareness of her musical legacy and her public persona. “I’m making fun of myself,” she admits. “There’s irony, it’s poking fun at the idea of being called a queen. That’s a title that has followed me, followed me, and followed me. We were sitting and writing and that title kept popping up in my mind and I’m thinking, ‘Am I supposed to write this? Is this too arrogant to write?’ But people call me ‘the queen,’ so I guess it's ok to refer to myself as what everybody else refers to me as. We started writing the song and thought it was kind of cute and funny.”
Summer wrote “The Queen Is Back” and “Mr. Music” with J.R. Rotem and Evan Bogart, the son of Neil Bogart, Casablanca Records founder. Neil Bogart died from cancer at the age of 39. He signed Summer to his Casablanca Records label in 1975 and released what would be most of her biggest albums and singles during the 70s decade. “I adored him and would have given up everything for him to be alive,” says Summer, remembering a time backstage long ago “when the nail person didn’t show up and Neil got on his knees and did my toenails. In many ways he was my mentor and I didn’t get to say goodbye to him.” When Summer met Evan Bogart, she was struck by his uncanny resemblance to his father. “It’s almost like they chiseled him out of his father,” Summer observed. “I’m in the studio looking at him and I get tears in my eyes, he has no idea why. I just wanted to hug him because it’s like I’m seeing someone I haven’t seen since his father passed away. It’s almost like Neil is looking at me through him. Evan and I hit it off immediately; there was a synergy that happened really quickly.”
On December 11, 2009, Summer performed at the Nobel Peace Prize Concert in Oslo, Norway, in honor of US President Barack Obama. She was backed by the Norwegian Radio Orchestra.
In August 2010, she released the single "To Paris With Love", co-written with Bruce Roberts and produced by Peter Stengaard. In October 2010, the single reached #1 on the US Billboard Dance Chart. Also that month Donna taped and closed the show for the PBS Special "David Foster and Friends". Highlights include a duet with Seal: a medley with the songs "Unbreak My Heart / Crazy / On the Radio.".
On July 29, 2010, Summer gave an interview with allvoices.com where she was asked if she would consider doing an album of standards. She replied:
"I actually am, probably in September. I will begin work on a standards album. I will probably do an all-out dance album and a standards album. I'm gonna do both, and we will release them however were gonna release them. We are not sure which is going first."
On September 15, 2010, Summer appeared as a guest celebrity singing alongside rising star Prince Poppycock on the television show America's Got Talent.
On October 16, 2010, she performed at a benefit concert at the Phoenix Symphony.


Discography

Main article: Donna Summer discography

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