Film
Greek popular music had long been intertwined with Greek post-war cinema. In the 50s and 60s, almost every film contained portions of music performed on screen, often by Kazantzidis.
- I kyria dimarhos (1960) - The mayoress
- Paixe, bouzouki mou glyko (1965) - Play, my sweet Bouzouki
- I timoria (1965) - The punishment
- Afiste me na ziso (1965) - Let me live
- Adistaktoi (1965) - The Ruthless
- Oi angeloi tis amartias (To limani) (1966) - Angels of sin
- Foukarades kai leftades (1966) - Poor men and rich men
- Eho dikaioma na s' agapo! (1966) - I have the right to love you
- O gerontokoros (1967) - The old single man
- I ora tis dikaiosynis (1967) - The hour of justice
- Adiki katara (1967) - Unjust Curse
- Ta psihoula tou kosmou (1968) - The breadcrumbs of the world
- Oi andres den lygizoun pote! (1968) - Men never expire
- O gigas tis Kypselis (1968) - The giant of Kypselis
- Kravges ston anemo (1976) - Shouts in the wind
Two of his songs ("To Psomi tis Ksenitias" and "Efige Efige") are featured in Season 2 of the hit HBO TV series The Wire, during the season's second-to-last episode, "Bad Dreams". The first is heard in the background of a restaurant while the second is heard in multiple of the final scenes of the episode; the music was not sourced anywhere on set, a technique rarely used by the show's producers.
Read more about this topic: Stelios Kazantzidis
Famous quotes containing the word film:
“Lay not that flattering unction to your soul,
That not your trespass but my madness speaks;
It will but skin and film the ulcerous place,
Whilst rank corruption, mining all within,
Infects unseen.”
—William Shakespeare (1564–1616)
“The average Hollywood film star’s ambition is to be admired by an American, courted by an Italian, married to an Englishman and have a French boyfriend.”
—Katharine Hepburn (b. 1909)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)