Hi all and Happy New Year, after year-end level a bit quiet concert is back in action on February 2 with a concert in support of the Tibetan Children to be held at CCO of Villeurbanne with Pipe Arrustut and Guerilla Poubelle. We took advantage of the last weeks to prepare some new songs that you will hear in the next dates ... And in the longer term, it plans to make a new album, but we do not tell you more for the moment. Stay tuned ..


CONCERT CANCELLED DECEMBER 2 A SERGY (only in our case). Sorry for those who wanted to see us but do not worry there are plenty of cool bands to see. Next Date December 17 in Balaison. Soon more info.


The best musical films

The film is artifice. And the music is perhaps, of all genres, the best indicator of that device. In it, the characters are allowed to open their channel to dream reality singing, or celebrate a whole range of feelings intoning the melody that best emphasizes. It can serve as an excuse to inflame passions, to ooze evening promiscuity or serve social criticism. The music came with the sound and lived its golden age in the next decades, from which emerge some of the most amazing talents to the big screen. Gene Kelly , Fred Astaire , Judy Garland and Julie Andrews represent the summits of a cinema eventually, he would eventually be devalued and ostracized. From the 70, the majority public would demand other movies and music, with few exceptions, would fade to insignificance in the 80 and 90. The last decade marked a vague revival of interest in this, however, it has been an intermittent trend is far from offering the prospect of a genuine revival. Then we review the most significant and celebrated titles of a long tradition of music, a list that easily activated in several humming melodies and reader, attached to an irrepressible rhythm on the feet. All these movies are available on movie4k for free.

singing in the rain singing in the rain

“Singin ‘ in the Rain” (Donen and Kelly, 1952).  The tandem of Stanley Donen and Gene Kelly was one of the most brilliant and successful musical film. Since the late 40s and especially during the 50 under the Freed Unit at MGM -a division overseen by producer Arthur Freed and dedicated to this genre, director and actor collaborated on a series of films which “Singin ‘ in the rain” is perhaps the highest standard. A charismatic, jovial and impeccable jewel that contains the most famous musical number history: the character of Kelly love celebrating and exulting in the rain his infatuation. On the set, however, the actor had so much fun, since it had to carry the sick and feverish sequence. But his condition did not affect that was another of his great performances, one in a film that also had a great  Donald O’Connor doing stunts and exploiting its comic gestures while singing  Make ’em laugh or Debbie Reynolds joining the two for optimistic Good morning .

“Broadway Melodies” (Vincente Minnelli, 1953).  Vincente Minnelli was undoubtedly one of the great architects of the golden years of the MGM musical. A year after “Singin ‘ in the Rain” “Broadway Melodies”, an adaptation of the musical that had premiered on Broadway in 1931 with the presence of Fred Astaire and his sister Adele premiered. More than 20 years later, Minnelli took that material and turned it into an extraordinary film that combined the Faust myth within the story of an actor in decline accepting a role in the musical that perhaps you back to fame. The critic and writer Carlos Losilla, in his book “The invention of modernity” noted the numberShine on your shoes like that could be one of the key scenes in the transition from classical to modern cinema, one of the signs of the self – consciousness of a part of Hollywood that was beginning to understand that everything began to change in some way. But apart from subsurface interpretations of Minnelli’s a wonder that perhaps has not enjoyed such popularity as others of their peers, but equally or more capable of reporting tons of happiness, with actors in a state of grace and a background footage excellent songs and choreography.

“West Side Story” (Robert Wise and Jerome Robbins, 1961).  “West Side Story” was born as a Broadway musical in the second half of the 50, written by the great Leonard Bernstein and lyrics of another essential tables,Stephen Sondheim . In the early 60s, producer, director and theater choreographer Jerome Robbins and Robert Wise, one of the most brilliant craftsmen in Hollywood, adapted it to film and became one of the egregious successes of the genre, winning 10 Academy Award of the Academy. This is a work still fascinating, a revisiting of “Romeo and Juliet” by William Shakespeare set in New York working and street gangs, here represented in -norteamericanos autóctonos- Jets and Sharks portorriqueños- – immigrants.In between, the forbidden love between Natalie Wood and Richard Breymer , sublimated in the romantic encounter accompanying  Tonight on the outside stairs of a building, but threatened towards the end of the film when the same song is reinterpreted by all the main cast to heat the final battle between the two. No less memorable is the musical number that provides America , intense debate sung in the Puerto Rican side and led by Rita Moreno on the advantages and disadvantages of Americanism.

“The Wizard of Oz” (Victor Fleming, 1939).  Hito musical film, “The Wizard of Oz” was released after several versions of the script, serious doubts about the acceptance of fantastic between the public and a number of directors and collaborators who shaped this classic by which finally would be credited Victor Fleming. This adaptation to all Technicolor tale Frank Baum and WW Denslow would have an inevitable impact on popular culture and raise the figure of Judy Garland to Olympus of the genre, especially with its emotional, tender and hypnotic rendition of  Somewhere over the rainbow , versioning post until exhaustion. But it is also the merits of the film Fleming are countless, from the same time it established a visual iconography warm and unsettling than any other adaptation has managed to replace final. And that, thanks among other things to that yellow brick road, the Scarecrow Ray Bogler , dancing the Tinman of Jack Haley , built by the Cowardly Lion Bert Lahr or the omnipresent Frank Morgan .

“Mary Poppins” (Robert Stevenson, 1964).  The health of the musical cinema during the 60s begin to weaken, but two titles huge success as “Mary Poppins” and “My Fair Lady” ( George Cukor , 1964) both premiered the same year, they would offer resistance before the genre had just definitely overwhelmed by other proposals. The two also were closely linked to the name of Julie Andrews. The actress came from an established theatrical experience that was highlighted on stage with his role in “My Fair Lady”. When it comes to adapting the work to the big screen came, however, Jack Warner chose to Audrey Hepburn for paper and Andrews would eventually debuting in the middle as the film ‘s most famous nanny. “Mary Poppins” mixed live action and animation, integrated fabulous special effects and unfurled a repertoire of dangerously catchy songs, namely Chim Chim Cher-ee of Dick van Dyke , A spoonful of sugar as ideal for housework theme and twister was sung  Supercalifragilisticexpialidocious .

” Gold Diggers of 1933″ (Mervyn LeRoy, 1933).  If we look back at 30, one of the major names of the decade is to Busby Berkeley , choreographer Warner who designed and directed some of the most majestic of gender numbers. His imprint the marked sequences of major infrastructure and amazing geometries, many dancers diluted in kaleidoscopic forms often observed from the overhead shot. But also, prior to the establishment Hays Code censorship musical, he dared articulate wild and little hindrance pointedly social and political criticism. ” Gold Diggers of 1933″ -moralista Spanish translation of the original “Gold Diggers of 1933” – is one of the best examples of this. In the film directed by Mervyn LeRoy always effective, a group of choristers lived in their flesh the hardships of the Great Depression, at least until hunting for a husband with resources or a bumpy musical show ended in success materializing. His bite was twofold: to moral values- the time choristers, traditionally identified with light life, turned into materialistic heroines unabashedly style of “Gentlemen Prefer Blondes” ( Howard Hawks , 1953) – and policy Hoover -the impressive final number, administration Remember my forgotten men , it was a critical open to the march of veterans of World War I that took place in Washington DC one before- year. The year title apart from her sisters, speaking of a series of films dating back to 1923, when Warner launched a silent version of the musical “The gold diggers” who was playing on Broadway. To this followed “Gold Diggers of Broadway” (Roy Del Ruth, 1929) -of which only one part- is preserved, said “Gold Diggers of 1933” and subsequent “Gold Diggers of 1935” (Berkeley, 1935) , “Gold diggers of 1937” (Bacon and Berkeley, 1936) and “Gold diggers in Paris” ( Ray Enright , 1938), and conducted under the impositions of the Hays code.

“Sound of Music” (Wise, 1965).  In its Top 10 best movies ever for the magazine Sight & Sound, the philosopher Slavoj Zizek argued that at the time your bet was for ten guilty pleasures. Among them was one in particular that he described as a great Nazi melodrama, which was none other than the beloved “Sound of Music”. Beyond the controversial readings that could give rise to the story of the Trapp family and their governess, a charming novice (Julie Andrews) fresh from the convent, the film was a new demonstration of the exquisite craft that showed Robert Wise in each job, and deployment of new skills for gender Andrews crowning a musical joy with a flowery hill in the most iconic scene.

“Meet Me in St. Louis” (Minnelli, 1944).  One of the best titles of great Minnelli and one of those essential that accompany the Christmas night on television. “Meet Me in St. Louis” was pure candor, pastel colors and an angelic and love Judy Garland. This was proclaimed in which, alongsideHave yourself a merry little Christmas , was the most recognizable song of the film, the enthusiastic The trolley song  in which his character sang in a trolley moving the absent object of his love. Few films have as much capacity as this to soften the heart of the most stoic viewer, in part because so warm and endearing characters like the little Margaret O’Brien or elder Harry Davenport ; but above all, for quite bright Garland, before which it was hard not to fall asleep. The Minnelli himself was seduced by the beauty of the actress, with which a year later would marry. A union, by the way, which arise another eminent figure of the musical as would Liza Minnelli .

“One day in New York” (Donen and Kelly, 1949).  The origin of “A Day in New York” – “On the town” in its original title it is in “Fancy Free”, a ballet byJerome Robbins with music by Leonard Bernstein who triumphed in 1944 at the American Ballet Theatre. Hence, the work made the jump to Broadway, where it was directed by George Abbott and choreographed by Robbins himself. In 1949, it launched this film version would mark the debut behind the camera of Stanley Donen and retain some songs from Bernstein to incorporate other of Roger Edens . The film chronicled the adventures of three sailors – Frank Sinatra , Gene Kelly and Jules Munshin – who enjoyed a day of service to spend in New York, in search of adventure and girls. In the course of just 24 hours, still remains in the collective memory the arrival of the three protagonists to the Big Apple with the song New York, New York  -this yes, Bernstein composed, although deserved to be featured as delicious as the numbers sharing Betty Garrett and Sinatra in a taxi,Come up to my place .

“Magnolia” (James Whale, 1936).  Few stories in the old Hollywood there are as fascinating as that of James Whale, whose interiors were portrayed by Bill Condon on the estimable “Gods and Monsters” (1998) with the face of Ian McKellen. Whale only worked behind the scenes for a decade before leaving the cinema, but it was enough this time to be one of the executive arms of Howard Hughes in the ambitious “Hell’s Angels” (Hughes, Whale and Edmund Goulding, 1930) establish itself as a creator of two of the greatest hits of terror of Universal as “Dr. Frankenstein” (1931) and its sequel “the bride of Frankenstein” (1935), and also lead one of the best of the decade musicals. “Magnolia” whose original title is “Show Boat”, was based on a 1927 musical with music by Jerome Kern and lyrics by Oscar Hammerstein II , in turn based on the novel by Edna Ferber published in 1926. Whale signed a loaded movie social readings on the banks of the Mississippi, a delicate and beautiful musical in which the always imposing presence was counted Hattie McDaniel and in which so emotional songs as quoted ol ‘man river , intoned by the deep voice of Paul Robeson or Can not help lovin ‘dat man , sung in chorus in the musical climax of the film. In short, a priceless gem that had a new version in 1951 with Ava Gardnerand Kathryn Grayson as protagonists.

“Gentlemen Prefer Blondes” (Howard Hawks, 1953).  If we mentioned before the nerve to ” Gold Diggers of 1933″ in his carefree portrait of a female protagonists in search of a wealthy husband in “Gentlemen Prefer Blondes” that purpose acquires the status of vital objective, central to the characters played by Marilyn Monroe and Jane Russell . No wonder the critic Jonathan Rosenbaum called the film  “Potemkin capitalist”  -meaning the Soviet classic “Battleship Potemkin” (Sergei M. Eisenstein, 1925) – Celebratory unprejudiced frivolity and desire for social climbing, punctuated with deliberately materialistic songs like Diamonds are a girl’s best friend .Again, it was the adaptation of a stage musical that had a few years before Anita Loos successfully released on his own novel, whose film adaptation was given by the teacher Howard Hawks.

“Seven Brides for Seven Brothers” (Donen, 1954).  Another Christmas television classics, this gem apparently naive and colorful took as its starting point the myth of the Rape of the Sabines to tell the story of seven rough brothers and primary seeking winning seven demure sisters. The music ofSaul Chaplin and Gene de Paul , accompanied by the lyrics of Johnny Mercer and choreography Michael Kidd gave much of the charisma and charm of a movie that are memorable scenes like the massive fight around the barn. In 1979, he had its corresponding version of the boards, which follow a series for CBS in 1982 and a Bollywood adaptation of the same year.

“42nd Street” (Bacon, 1933).  One of the choreographic masterpieces of Busby Berkeley His first work for Warner, demisting the same year as the spectacular ” Gold Diggers of 1933″ -and that “footlights Parade” , another of his works insignia- and executed by the very efficient Lloyd Bacon, who came to replace Mervyn LeRoy when he had to withdraw from filming sick. It also marked the debut of his leading actress Ruby Keeler , which was thewife of pioneer Al Jolson , officially, the first voice that sang in films, in “The Jazz Singer” ( Alan Crosland , 1927) – and star of the genre the decade would be diluted after just a dozen jobs. “42nd Street” is perhaps the best standard of this monumental musical 30, culminated in the song that corresponds to the title with Keeler and Dick Powell delivered a mutant, magnificent and unforgettable number. Based on a novel by Bradford Ropes, would in 1980 his theatrical review, which is still represented in the British stage.

“Cabaret” (Bob Fosse, 1972). Daughter of the union between Vincente Minnelli and Judy Garland, the artistic talent that Liza Minnelli carried in the genes deployed him as ever in “Cabaret” perhaps the summit in the short filmography of Bob Fosse who performed the musical when he wasbeginning to be an endangered genre. This his great film developed in Nazi Berlin 1931, in which the Kit Kat Club and the performances of its star Sally Bowles (Minnelli) became the night shelter a reality grayer. Vaguely inspired by the eponymous Broadway musical of 1966, of Kander and Ebb , it resulted in a huge box office success and eight Academy Award of the Academy. Five years later, “New York, New York” ( Martin Scorsese , 1977) would be the other side of the coin for Minnelli, a significant failure that left more naked its interpretative shortcomings, but in which the actress and singer embroidering the celebérrimo title track, composed by Kander and Ebb own and sang it with melancholy emotional Carey Mulligan in “Shame” (Steve McQueen , 2011).

“A Star Is Born” (Cukor, 1954). Cukor was a prolific and sensitive filmmaker, SUV but with special talent for comedy, as he had demonstrated in “The Philadelphia Story” (1940) or “Adam’s Rib” (1949 ), among other. His main contribution to music, apart from the aforementioned “My Fair Lady” was the remake of the film of William A. Wellman, 1937, in which Judy Garland was a young talent discovered by a famous performer addicted to alcohol and interpreted by James Mason . Nearly three hours of intense and full of great performances, punctuated with melodrama songs Harold Arlen and Ira Gershwin and music by Ray Heindorf . In 1976, Frank Pierson would direct a new version with Barbra Streisand and Kris Kristofferson heading the cast, which will soon follow another update fromClint Eastwood , with Beyonce Knowles starring.

“Moulin Rouge” ( Baz Luhrmann , 2001).  Controversially, passionate, sentimental, lysergic and thunderous. This is the third feature by Australian Baz Luhrmann a tremendous show moves to Paris early last century amphetamine rollbacks songs of Nirvana, which celebrates love with amash-up full of milestones of pop music, which makes Kylie Minogue in fairy of absinthe. The aesthetic decisions and the level of hysteria “Moulin Rouge” may be subject to debate, but what is certain is that we are faced with a dizzying free, able to find your own emotional epic in the chinks of his visual madness work. His pride and anachronistic soundtrack is largely theresponsibility of the mixer genius of Marius de Vries . His imagery excess would not be the same without the complicity of a completely devoted to the cause actors from a sweetened Ewan McGregor and Nicole Kidman to the hyperbolic side of Jim Broadbent and John Leguizamo .

“Grease” (Randal Kleiser, 1978).  Resorted reference for costume parties, whose music is sued in verbenas and karaokes and whose passes on television are repeat offenders in afternoon sessions, “Grease” has become a musical milestone often more celebrated so it is not that their real intentions. And it is likely many and many of those who once toupee combed back or a blonde wig placed did not realize that, actually, the film Randal Kleiser was not so much a product of the time ready to be consumed from nostalgia, but a thug parody of that past time and obsolete values. It is not explained if not bad baba theme  Beauty school dropout , who himself Frankie Avalon sings a rapturous Didi Conn , or that final blatant and deliberate so often criticized. “Grease” was based on a musical of 1971 Warren Casey and Jim Jacobs, and much of his triumphant leap to film some great was because John Travolta and Olivia Newton-John who showed extraordinary chemistry with their respective characters macarra background modosita sensitive and wild background.

“Carmen Jones” (Otto Preminger, 1954).  Of the European directors whoemigrated to Hollywood, the Austro-Hungarian Otto Preminger was one of the most influential and one of the most interesting. Preminger signed indispensable films as “Angel Face” (1952), “The Man with the Golden Arm” (1955) or “Anatomy of a Murder” (1959) and also this unusual musical black that adapted the play by Oscar Hammerstein II, in turn adaptation of the novel “Carmen” by Prosper Merimee, who inspired the famous opera by Georges Bizet. “Carmen Jones” replaced the torero by the boxer and adapted the famous songs to put them at the service of its star Dorothy Dandridge , well accompanied in the cast by secondary Pearl Bailey , andHusky Miller , particularly splendid accompanying the rhythm of  Beat Out Dat Rhythm on to Drum (Gypsy Song) or intoning vigorous  Stan ‘Up an’ Fight (Toreador song).

” Top Hat” (Mark Sandrich, 1935).  While we have mented the magnificent “Melodies of Broadway”, it is true that the film career of Fred Astaire is best summarized in works like “Crazy Rhythm” (Sandrich, 1937) or this ” topHat” sublimation of a modulated dance style from the virtuosity and elegance, from the smoothness of movements that seem to caress the music with exquisite delicacy. In her one of his most iconic sequences is located: those that are soft, beautiful Cheek to cheek dance well stuck toGinger Rogers , the same as both did mourn the character of Michael Clarke Duncan in “The Green Mile” ( Frank Darabont , 1999).

“An American in Paris” (Minnelli, 1951).  Two years before “Broadway Melodies” and shortly after signing “Father’s Little Dividend ” (1951) -secuela of his celebrated “Father of the Bride” (1950) – Minnelli adapted to film the symphonic poem Georges Gershwin “An American in Paris”, again under the production of the Freed Unit Minnelli retold with Gene Kelly- and had worked with him on “the pirate” (1948). and he chose as a companion to the French Leslie Caron , which was his debut film. Caron did not miss his chance and embroidered role, running a seductive dance with a chair on a set of different ranges of pink, a proposal for artistic direction unusual which was awarded by the Academy with the Oscar, one of six that ended taking the tape including that of best film at the 1952 ceremony.

“Hair” (Milos Forman, 1979). Originally, “Hair” was an Off-Broadway musical written by James Rado and Gerome Ragni and Galt MacDermot music. Premiered in 1967, soon he became one of the stalwarts of the movement hippie , although its treatment of issues like drugs or sex led him no little controversy. Just over a decade later, the Czech director Milos Forman took the material and turned it into a musical that had lost some of its critical to the context of his birth power, but not a hint of charisma and vitality. Yet it is hard not to feel emotionally struck by the complaint on the hard end to ditch the fate of John Savage with Let the sunshine in , nor is itan option to forget the film version for the theme  Aquarium or unbridled Hair baptising the proposal .

“Chicago” ( Rob Marshall , 2002).  The career of Rob Marshall began with a television adaptation of “Annie” musical of 1977 on a small orphan who had already had its film version in 1982 of the hand of John Huston. It is no wonder, then, that his movie was to play the genre in a larger and more ambitious as it was “Chicago , ” adapted from the play by Maurine Dallas 1926 written by Watkins production. In it, a plethoric Richard Gere ,Catherine Zeta-Jones and Renée Zellweger were collecting their musical skills in a history of vaudeville dancers, lawyers and murders able to grab and dilute genres with remarkable skill. He triumphed in the Academy Award 2003, accumulating up to six statuettes and becoming the first musical since 1969 to proclaim himself -the best film last to get it had been “Oliver!” (Carol Reed, 1968) , and even “Cabaret” had galardón- done with this. Its success would make many drawn to Marshall as the possible successor to Bob Fosse and even talk of a possible bonanza of gender, something that has not been confirmed except for sporadic cases. Not that Marshall himself help realize any trend, which has since been more successful with other projects like “Memoirs of a Geisha” (2005) and “Pirates of the Caribbean: On Stranger Tides” (2011) with his remake musicado of “Fellini 8 1/2” ( Federico Fellini , 1964), “Nine” (2009).

“Dancer in the Dark” ( Lars von Trier , 2000).  If we think Lars von Trier as the twisted genius and manipulator capable of malear genres and take the viewer to your basement, then “Dancer in the Dark” is one of his masterpieces, a musical-melodramón with echoes of Dogma and devastating conclusions in which it was passed Björk an ordeal. The film radically reinterpreted musical codes in the same way that he surrendered to them-chamber rises to conclude the narration. With it, the Danish stirred passions as ever among his admirers and detractors, even after being boosted with the Palme d’ Or at the Cannes Film Festival 2000.

Do not stop the music.  While this is a significant selection of the best of the genre, we can not fail to rescue some of the forgotten or excluded from the preceding paragraphs. A longer list maybe if we would to include, for example, two other gems Minnelli such as “Brigadoon” (1954) and “Gigi”(1958), or other essential Stanley Donen as “Funny Face” (1957 ), with the duo Fred Astaire-Audrey Hepburn in the lead. No less important are trends as established in the 40 MGM around the water music with swimmer Esther Williams as a star, namely “Bathing Beauty “ ( George Sidney , 1944) or“Thrill of a Romance” ( Richard Thorpe , 1945), not to mention its direct competitors, the films that starred the Norwegian figure skater Sonja Heniefor Twentieth Century Fox.

They have been without mention such significant titles as “Yankee Doodle Dandy”   ( Michael Curtiz , 1942), or James Cagney exploiting its musical side- and squeezed the other hand, in “Parade footlights” before- nearly a decade, “They and they “   ( Joseph L. Mankiewicz , 1955) or ” The king and I “ ( Walter Lang , 1956). Nor it can forget the condition of music who held most of the films that starred the Marx brothers , Chico and Harpo as virtuoso piano and harp, respectively. Among the following decades, also arenoteworthy for many reasons raids Barbra Streisand in “Funny Girl (A funny girl)” ( William Wyler , 1968) and “Funny Lady” ( Herbert Ross , 1975); satiric “Producers” ( Mel Brooks , 1968); the phenomena of “Jesus Christ Superstar”   ( Norman Jewison , 1973) and “The Rocky Horror Picture Show” ( Jim Sharman , 1975); the two big musical with orphans, “Oliver!” and “Annie”; the eighties “Xanadu” ( Robert Greenwald , 1980),“Footloose” ( Ross , 1984) and  “The Little Shop of Horrors” ( Frank Oz, 1986); the arid tribute to musical Herbert Ross 30 in “Pennies from heaven (Pennies from Heaven)” (1981); the transgendered “Victor Victoria?” (1982); two antics of John Waters as “Hairspray 60” (1988) and “Cry-Baby (The tear)” (1990); or, as in the 90s, the exhausting “Evita”( Alan Parker , 1996).

In recent years, the timid revival of the genre was promoted from the success of “Moulin Rouge” and “Chicago”, which was followed by others like“The Phantom of the Opera by Andrew Lloyd Webber” ( Joel Schumacher , 2004), Oscar – winning “Dreamgirls” ( Bill Condon , 2006), the remake of “Hairspray” ( Adam Shankman , 2007), the burtoniana“Sweeney Todd : the Demon barber of Fleet street” ( Tim Burton , 2007), the music of the Beatles ” Across the universe “ ( Julie Taymor , 2007) and verbenera ” Mamma mia! The film “ ( Phyllida Lloyd , 2008).Also, a work so alternative and unclassifiable as “Repo! The Genetic Opera “ ( Darren Lynn Bousman , 2008) or the celebrated Spanish contribution, ” The Other Side of the Bed “ ( Emilio Martinez Lazaro , 2002) continuation is by its sequel ” The 2 Sides of the Bed “ (Martinez Lazaro, 2005 ) -.

In addition, we should devote a report to the central part representing the Disney films, mostly peppered by musical numbers and built between worshiped compositions traditionally hoard Oscars® in the categories for sound and music bands. As examples, worth rescuing the outstanding “The Jungle Book” ( Wolfgang Reitherman , 1967), “The Aristocats”(Reitherman, 1970), “Robin Hood” (Reitherman, 1973), “The Little Mermaid” ( Ron Clements and John Musker , 1989), “beauty and the beast” ( Gary Trousdale and Kirk Wise , 1991), “Aladdin” (Clements and Musker, 1992) and “the lion king” ( Roger Allers and Rob Minkoff , 1994). The tendency to include musical passages in the animated film is somewhat extended beyond the productions of the company, although in recent years the 3D animation has finished to minimize the number of songs, still present in films such as “Madagascar “ ( Eric Darnell and Tom McGrath , 2005) or the recent ” Brave (untamed) “ ( Mark Andrews andBrenda Chapman , 2012). Watch it here on putlocker.