An absolutely superb special that I had the privilege of seeing in full on Youtube recently (before that all which seems to have been available on there were a few scattered clips). Frankly, if more specials had been like this, I wonder if the genre might still be around.
Lena Horne and Harry Belafonte are a perfect combination for a variety format - he smooths her edges while she cuts through his gloss. The hour also cuts through much of the fat that hobbles variety formats from this time. There is no "psychedelic" editing style. There are minimal political or social statements, although there are powerful moments, like Lena and Harry briefly mentioning how their experiences with segregation have changed in recent years, and of course the perfunctory performance of "Abraham, Martin and John" (they also open the hour with a strong rendition of "Walk A Mile in My Shoes," the first of two Joe South compositions). The high point of the social comment is likely Harry's commercial against littering which closes out the hour. There is also, thankfully, none of what you would get in so much more of this decade of variety - a parade of special guests, or attempts to plug shows on the network, or puerile comedy with somebody getting a pie in the face or mugging in closeup. There is banter and teasing between Harry and Lena, and a great deal of playful energy in the uptempo numbers, but never anything juvenile. There is pure and simple class, and dignity. We never forget we're watching adults, mature and wise, even if they still have living to do. One touch I found especially strong in building atmosphere is that when Lena is singing, Harry isn't shuffled offcamera - he stands in the background, watching and admiring her talent. She does the same for him.
Beyond the above-mentioned Dion song and the usual Beatles tune ("In My Life") for this era, you get a mix of pop classics (like "Down on the Corner"), showtunes (a deliciously funky "I Want To Be Happy" from Lena), and lesser-known numbers from South, David Ackles, Oscar Brown, among others. Many of those numbers put the focus on childhood days, or children and the future - leading to poignant moments like a line in "You and Me" where they say maybe their son will be President someday if "the country loosens up," or another where Harry says he thought he had a happy childhood, with the aching, unspoken implication of what he now knows as a grown man.
The high points I would say are Lena's haunting cover of "Brown Baby," Harry's beautifully restrained yet emotional interpretation of "Subway to the Country," and their duet of "Don't It Want To Make You Go Home?" There are no low points - only goodness, and a window into a world of music we should all miss and appreciate.
Lena Horne and Harry Belafonte are a perfect combination for a variety format - he smooths her edges while she cuts through his gloss. The hour also cuts through much of the fat that hobbles variety formats from this time. There is no "psychedelic" editing style. There are minimal political or social statements, although there are powerful moments, like Lena and Harry briefly mentioning how their experiences with segregation have changed in recent years, and of course the perfunctory performance of "Abraham, Martin and John" (they also open the hour with a strong rendition of "Walk A Mile in My Shoes," the first of two Joe South compositions). The high point of the social comment is likely Harry's commercial against littering which closes out the hour. There is also, thankfully, none of what you would get in so much more of this decade of variety - a parade of special guests, or attempts to plug shows on the network, or puerile comedy with somebody getting a pie in the face or mugging in closeup. There is banter and teasing between Harry and Lena, and a great deal of playful energy in the uptempo numbers, but never anything juvenile. There is pure and simple class, and dignity. We never forget we're watching adults, mature and wise, even if they still have living to do. One touch I found especially strong in building atmosphere is that when Lena is singing, Harry isn't shuffled offcamera - he stands in the background, watching and admiring her talent. She does the same for him.
Beyond the above-mentioned Dion song and the usual Beatles tune ("In My Life") for this era, you get a mix of pop classics (like "Down on the Corner"), showtunes (a deliciously funky "I Want To Be Happy" from Lena), and lesser-known numbers from South, David Ackles, Oscar Brown, among others. Many of those numbers put the focus on childhood days, or children and the future - leading to poignant moments like a line in "You and Me" where they say maybe their son will be President someday if "the country loosens up," or another where Harry says he thought he had a happy childhood, with the aching, unspoken implication of what he now knows as a grown man.
The high points I would say are Lena's haunting cover of "Brown Baby," Harry's beautifully restrained yet emotional interpretation of "Subway to the Country," and their duet of "Don't It Want To Make You Go Home?" There are no low points - only goodness, and a window into a world of music we should all miss and appreciate.
