Singing, movie careers sometimes thrive in harmony

by Robert Bianco
For the Daily News

Music fans watch the Grammys to see today's recording stars. Hollywood watches to find tomorrow's movie stars. The record industry has long been a productive hunting ground for Hollywood, which has never been shy about poaching talent from other media. Recording stars may not be actors, but they are proven talents with name recognition and performing experience -- and that's a combination Hollywood has often found hard to resist. The transition from record to film, however, has not always been a smooth one, particularly since the collapse of the movie musical.

For every Barbra Streisand, there's a Luciano Pavarotti ("Yes, Giorgio"), Tony Bennett ("The Oscar") or Bob Dylan ("Pat Garrett and Billy the Kid"). Will some star at this year's Grammys better Bennett's movie record? If anyone can, it might be Toni Braxton or Celine Dion: beautiful, magnetic performers, who seem primed to follow in Whitney Houston's movie footsteps. As the following examples prove, it can be done -- but it sure isn't easy.

Whitney Houston: Despite the disappointment of "The Preacher's Wife" (due out on video this spring), she's still got two hits to her credit, including her debut film, "The Bodyguard" (1992, Warner, $19.98). The movie actually improves on video, if only because you can fast-forward through "I Will Always Love You."

Bette Midler: Few actors have had a more confusing film career than Midler, who seems to follow each success with a string of bad choices. She's back on top now with "The First Wives Club"; while you're waiting for its late-March video debut, rent "The Rose" (1979, Fox, $19.98), a cautionary backstage look at the music business.

Stevie Wonder: Though few performers have ever dominated the Grammys the way Wonder has, his recording success did not win him a film career. It did, however, win him concert performances in "Bikini Beach" (1964, Sultan, $14.99) and "Muscle Beach Party" (1964, Sultan, $14.99) opposite fellow recording star Frankie Avalon.

Liberace: Hollywood tried to turn Liberace into a romantic lead with "Sincerely Yours" (1955, Warner, $14.99). The attempt failed -- but it left us with an incomparable camp classic.

Madonna: Persistent, isn't she? For the full, unvarnished Madonna experience, rent "Truth or Dare" (1991, Live, $14.98) -- and then try to get your hands on Julie Brown's dead-on TV parody "Dare to Be Truthful."

Pat Boone: Admit it -- he's forced you to think about him again. In fact, once you've seen a shot of the heavy-metaled Pat in that dog collar and open vest, it's hard to think of anything else. To erase that image from your mind, rent "State Fair" (1962, Fox, $19.98), a healthy reminder of why you forgot him in the first place.

Dolly Parton: She could have been bigger, so to speak, but her choices after "9 to 5" (1980, Fox, $19.98) have almost all been bad ones.

Diana Ross: When it comes to short-circuiting a film career, however, no one tops Ross, who followed up her Oscar-nominated turn in "Lady Sings the Blues" (1972, Paramount, $29.95) with "Mahogany" and "The Wiz." Stop, in the name of love.

Frank Sinatra: For some hint as to why his popularity has never waned, rent "Anchors Aweigh" (1945, MGM, $19.98). It's not a particularly good movie (outside of "On the Town," few of his musicals were), but his understated version of "I Fall in Love Too Easily" is as great a singing performance as you'll find on film.

Philadelphia Online -- Philadelphia Daily News -- Features
Tuesday, February 25, 1997