MMM: The Sixth Unbreakable Lady

James here with Movie Music Monday.

Three selections from James Newton Howard’s body of work, specifically his collaborations with M. Night Shyamalan.   I like all three pieces for the same reasons — effective blending of fear and wonder, aural establishment of the film’s iconography.  Good music.  Yep.

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MMM: Miller’s Third Deadly Crossing

James here with Movie Music Monday.

Three from various films of the noir persuasion…


There is no better noir theme in existence than this classic piece for Carol Reed’s ‘The Third Man’, played here by a talented kid on a guitar, while the original was performed on a zither.


Well, maybe Nat King Cole could contend for it. This is the theme for ‘Kiss Me Deadly’.


It’s difficult to get away from Carter Burwell and his memorable contributions to the Coen brothers’ repertoire. This thematically dissonant theme for the under-appreciated neo noir ‘Miller’s Crossing’ sounds like it could accompany an Oscar bait biopic, and I mean that in the best way possible.

MMM: No Arizona For Old Lebowski

James here with Movie Music Monday.

Three pieces from the Coen brothers’ longstanding collaboration with composer Carter Burwell, representing Burwell’s musical range in conjunction with the Coen’s flexible command of the cinematic language.


‘No Country For Old Men’ is so brutally present that the filmmakers kept the score very minimalist. Only during the end credits do they find occasion to lean on Burwell’s scary, evocative theme.


Ah, ‘Raising Arizona’. Downright joyful.


Of all the colorful villains in the Coen brothers’ canon, the German Nihilists from ‘The Big Lebowski’ are probably the most hilariously pathetic. This fake krautrock-esque piece is Burwell’s diegetic compliment to their characterization, heard on a boombox during the “fight scene” in the bowling alley parking lot.

MMM: So Long! I Will Carry Time

James here with Movie Music Monday!

These three pieces are from my favorite cinematic moments of 2010, those exaltant, transcendant scenes that make me cry buckets, even just hearing the music.  It’s what it’s all about.

The Coen brothers manage some of the best endings possible.  They leave me hanging, in a good way.  This isn’t quite the ending of ‘True Grit’ — but it’s the final scene between Mattie and Rooster, and certainly the defining moment.

This ending cannot help but leave an impression.  It’s joyous, mysterious, and appropriately dreamlike.  I stole this song for my short film ‘Point A’.  Then again, I pretty much stole the whole score from ‘Inception’ for its purposes.

‘Toy Story’, with its third and best installment yet, has achieved cinematic apotheosis.  Randy Newman’s score is a big part of this.

Patrick’s Top Five Random Music Moments in Film

By contributor Patrick Zabriskie

In most films that aren’t musicals, the music is meant to bolster the action in a scene and add weight to it; occasionally though, there are moments in movies in which the music happens to be so powerful that it completely overwhelms the scene itself, and thus, the tail wags the dog.  These moments in which the action bolsters the music (and not the other way around) often come out of the blue and have little to no bearing on the plot, but they sure are entertaining.  Anyways, here’s my pick for the top five “Random Music Moments” in film.

‘Bohemian Rhapsody’ — ‘Wayne’s World’

Chances are if you’re a guy, more than once you’ve been in a car with your buddies, music blaring, singing along to your favorite tunes. 1992’s ‘Wayne’s World’ celebrates this beautifully as they perform a cappella to the latter half of Queen’s grandiose epic while driving through suburban Chicago.

‘Johnny B. Goode’ — ‘Back to the Future’

http://www.youtube.com/watch?v=Ox1pkvNHZko (Embedding disabled; I don’t know why – The Editor)

80’s teenager Marty McFly gets sent back through time to the 50’s and must help his parents fall in love, save his own existence, and find a way to get back to the future, but not before picking up the electric guitar and jamming to an old rock and roll staple.

‘Dueling Banjos’ — ‘Deliverance’

A chance encounter sparks an impromptu banjo-guitar duel between an inbred hillbilly and a southern city-boy; and people have never looked the same way at the banjo since.

‘Descent into Mystery’ — ‘Batman’

http://www.youtube.com/watch?v=nGAKYVGuPqE&hd=1 (Embedding disabled; what the frak? – The Editor)

Tim Burton’s music here is so sweeping, dark, and epic that you almost forget that Batman is just driving back home with his girlfriend.  It ties with the title track for the best part of this amazing score.

‘Ecstasy of Gold’ — ‘The Good the Bad and the Ugly’

http://www.youtube.com/watch?v=2PwpOmjAu1M (Embedding disabled; where is the logic in this? – The Editor)

The bandit Tuco, aka “The Ugly” has come across a thousand-grave-strong cemetery with a fortune buried in just one of them.  So he spends the next three minutes running through it, looking for the name of that single grave, accompanied by some of the most lively, dramatic, and powerful music of composer Ennio Morricone’s career.  This piece is so awesome and enduring, in fact, that Metallica has used it to open up their concerts for the past twenty-five years.

 

MMM: How I Learned To Stop Full Metal Odysseys

James here with Movie Music Monday!

Three from the films of Stanley Kubrick.  If you’re a filmmaker, you’re required by law to appreciate Kubrick.  If you don’t, you get dropped out of a bomber over Russia.  Bring your cowboy hats, ye condemned.


The ending to ‘Dr. Strangelove, Or: How I Learned To Stop Worrying And Love The Bomb’ is one of Kubrick’s finest moments.   This song plays over a truly lovely montage of giant mushrooms growing all over the globe.  What is ‘We’ll Meet Again’? Soundtrack Dissonance for 500, Alex.


Among the similarities between Kubrick and Tarantino are their use of long takes and iconic, violent sequences set to surf rock, such as this Trashmen hit in ‘Full Metal Jacket’.  What is ‘Surfin’ Bird’?  I’ll take Classical Film for 200, please.


In ‘2001: A Space Odyssey’, Stanley Kubrick famously used classical music to frame sequences of silent space flight, such as this piece used over a docking sequence.  What is ‘Blue Danube’?

And just like that, I take the lead, but lose next round to the spectacled gentlemen who knows all the math questions. I do, however, avoid a very explosive fate on a Serbian mountain range.  Kubrick, love him or hate him, sure knew how to weave music into his works.   I think the Tarantino comparison is kinda neat, too.

The King’s Speech

Stars:  ★★★★

Summary:  Warm, resonant, and perfectly crafted cinema that pops with strong performances.

Review:  Something I notice about great movies is that they often play so strongly that it makes me wonder how everybody else missed the mark.  The drama is so deceptively organic that it leaves me, the stumbling storyteller, wondering how I became such a dunce.  If filmmaking is like a farming metaphor, ‘The King’s Speech’ was ripe for the picking.  If in truth we’re all walking about blindfolded, director Tom Hooper and company had fate’s guiding hand.  It’s so good that they must have cheated.

I’ll put off the puffery for a moment.  ‘The King’s Speech’ appears as a simple story, an inspirational drama about overcoming personal difficulties to do great things.  The trouble is, great movies like this aren’t simple, they’re just compact.  The tapestry is woven tight.  There are no bizarre rabbit trails or meaningless moments bridging story beats.  Every word, every shot, every emotional beat is part of the organism.  No perfect dividing line exists between good and bad cinema, but certainly one of them is unity.

Here’s what I mean.  ‘The King’s Speech’ appears simple because its emotional center never sways, always developing the central character in direct and indirect ways, examining him from every angle; character, culture, criticisms, and whatever is necessary.  If you said, “It’s a film about British monarchy in the early days of World War II”, you would be partly correct.  In a strictly dramatic sense, the only reason the British monarchy is in this story about a king is that it reveals something about his character, a vital part of his emotional journey.  Even saying, “It’s about speech therapy“, is not completely on the mark.

There’s a tool you’ve probably heard of that storytellers use to help isolate the kernel of emotional truth behind a good story.  This is a premise.  It doesn’t have to be perfect, just dramatically sufficient.  Consider this version of the premise from IMDB:  “The story of King George VI of Britain, his impromptu ascension to the throne and the speech therapist who helped the unsure monarch become worthy of it.” If in some way any moment of the film diverts from this premise, there’s something wrong.  You’ll notice.  Compromising unity is like breaking a bone.  It makes forward movement awkward at best.   Again, I quote Stanley Kubrick, “A film is – or should be – more like music than like fiction.  It should be a progression of moods and feelings.  The theme, what’s behind the emotion, the meaning, all that comes later.” Filmmaking is not like writing a novel, designing a video game, or painting, well, a painting.  They all have things in common, to be sure, but in effect film is music evolved.

Okay, now that I’ve rattled off my usual cool, detached analysis, here’s a little specificity.  I loved, perhaps most of all, the familial element.  Despite a distinctly tragic backdrop — both personally for George VI and culturally — it felt warm.  Human.  Relatable.  Whimsical, maybe.  I had this big silly grin on my face for most of its running time; that is, when the filmmakers weren’t yanking the tears out of my ducts.  Partially it was from the clear, classical craftsmanship, but mostly it came from the performances.  If Colin Firth and Geoffrey Rush get Oscars, they deserve them.  Unsung, I feel, is Guy Pearce as Edward VIII.  I didn’t realize it was him until the theater lights came on.  And I mustn’t forget Helena Bonham Carter!  She’s the picture’s backbone.

I love this film.  As a resonant, accessible story (forget the swearing!) and clever cinema, it’s not only Oscar-worthy, it’s classic.