Tag Archives: Music

Superlatives of 2013

Last December I wrote about “the year in movie music,” so this year I’ve chosen to reprise that tradition and add a little extra. Below are my favorite song uses and much more:

Songs

Bastards

Bastards

The ending of Claire Denis’s Bastards is as haunting as anything I saw all year, and a huge part of that is “Put Your Love in Me” (originally by Hot Chocolate, here covered by Tindersticks) which plays over that ghastly video and the film’s credits. Throbbing and downbeat as the rest of Bastards’ score, the song makes it clear: We have passed through limbo. We are decidedly in hell.

Cate Blanchett’s beleaguered heroine spends much of Blue Jasmine wishing she could return to the past, a time of cocktail parties and plush interior design. Woody Allen symbolizes that wish with, what else, a jazz standard—namely Rodgers and Hart’s “Blue Moon,” a ballad both wistful and romantic, which (as Jasmine repeatedly babbles) was playing when she met her late husband.

The year’s best musical, Inside Llewyn Davis has a half-dozen numbers I could cite. The performance that bookends the movie? Llewyn’s audition for Bud Grossman? The unforgettable “Please Mr. Kennedy”? Instead let’s say Bob Dylan’s “Farewell,” which plays in the aural periphery of the film’s conclusion, an echo of Llewyn’s own “Fare Thee Well” and a mordant punchline to his shaggy dog misadventures.

Sometimes truth is catchier than fiction. Once you’ve heard “La alegría ya viene,” the real-life jingle employed in Pablo Larraín’s political comedy No, it’s near-impossible to scrub it from your head, or to stop hearing the rhythmic hand claps that accompany it. “¡Vamos a decir que NO!”

I was very pleased when Spring Breakers opened with Skrillex’s “Scary Monsters and Nice Sprites,” and I did enjoy its cast’s rendition of Britney Spears’ “Everytime,” but best of all? Ellie Goulding’s “Lights,” the concentrated dose of pop that plays over its Lisa Frank-esque credits. The ideal way to send me out of the theater in a good mood.

The Worst Movies I Saw

Dallas Buyers Club

Dallas Buyers Club

I found the following movies not just aesthetically displeasing, but odious. They may not strictly be the “worst” released this year (I didn’t see e.g. any number of widely panned sequels) but they did piss me off.

Matthew McConaughey’s typically great in Dallas Buyers Club: charismatic, physically invested, a seemingly bottomless fount of energy. But the movie around him! It’s as clichéd a “loner vs. the system” story as ever I’ve seen, hemming each of its stars into these one-dimensional character types. The Mean FDA Guy, The Initially Skeptical Doctor Who’s Won Over, The Junkie Trans Woman Who’s Called “He” and Then Dies. It’s a less inventive Catch Me If You Can with an addiction drama stuffed into the margins. It’s an AIDS history with straightness at its center. We shouldn’t penalize movies for the stories they don’t tell, it’s true, but when you talk about the recent past in terms this blinkered, this selective, that’s dangerously irresponsible.

(And though I’m loath to conflate a movie’s “buzz” with what’s actually up on the screen, oh Christ am I nauseated by the tone-deaf interviews Jared Leto’s given, the praise his “brave” performance has received, and the awards he’s en route to collecting. Thanks for reinforcing the idea that trans women can only be onscreen as part of a daring thespian’s prestige movie stunt, folks.)

Yes, I’m impressed that Escape from Tomorrow exists. But goddammit, I’m impressed that any movie exists. Every production has to clear countless logistical hurdles before garnering even a chance of distribution. So writer-director Randy Moore shot this on location at Disney World. So what, especially when the finished product is so tawdry and bereft of imagination? Escape from Tomorrow depicts prostitutes, demons, and a flu epidemic at the Magic Kingdom, which is honestly about as subversive as a 12-year-old drawing a dick in Mickey’s mouth. The movie’s circuitous plot, about a schlubby patriarch’s desire to leave his family and bed some foreign exchange students, makes it obvious that this would be an off-putting slog no matter where it was shot.

I feel like Baz Luhrmann has some idea of what beauty is, and I know for a fact that he’s acquainted with passion. But once these things reach the screen in The Great Gatsby, they’re so embalmed by excess as to be unrecognizable. Every emotion has to be underlined a thousand times; every shot has to scream style. There’s so little modulation to the movie that its grandeur becomes meaningless. On occasion this compulsion toward hugeness is relaxed, but then the film leans back on its status as a literary adaptation, brandishing Fitzgerald’s prose as if to ward off stagnation. (The film’s visual accompaniment to the book’s last page will, I have no doubt, insult the intelligence of high school English classes for years to come.)

I loved Drive back in 2011. It was a sleek, precise crime movie that wasn’t shy about its influences but also brought something new and eerie to the screen. Now it’s 2013, and I hate Nicolas Winding Refn’s follow-up Only God Forgives. Like Drive, it stars Ryan Gosling as a taciturn killer; again, he’s mixed up in a tit-for-tat revenge narrative that alternates extreme violence with arty, Cliff Martinez-scored repose. But here the nihilism is amplified, the violence more pointedly pointless and aestheticized, and Gosling’s performance somehow even less inflected. It’s as if that noxious scene in Drive where Christina Hendricks’ head explodes had been expanded into its own feature film. Worse yet, Refn sets his saga in a brutal, hyper-exoticized Bangkok, one visualized through these symmetrical, red-lit, vacuously pretty frames. I’m comfortable with amorality in my movies; sometimes I get off on it. But when it’s this hate-filled, yet devoid of any ideas or purpose, I just get bored.

At least The Great Gatsby and Only God Forgives, much as I may revile them, had strong auteur intent visible in every shot. Since, as I said, I missed out on most of the year’s worst consensus losers, Warm Bodies may be the emptiest thing from 2013 I’ve seen. Not to say that it’s exceptional or an outlier in any way. Just that it’s an absolute nothing of a movie, mashing up one formula (Romeo and Juliet) with another (zombie apocalypse) and churning out cinematic sausage on the other end. It has dozens of flat “jokes,” John Malkovich as a patriarch who sways with the whims of the plot, the millionth “romantic” case of Stockholm syndrome I’ve seen onscreen, and a half-assed message of tolerance (“zombies aren’t so bad”) that’s undercut by the need for epic action (“…except for those bad zombies”). Warm Bodies is by no means unusual, but its utter mediocrity made for one arduous viewing experience.

Lines

Computer Chess

These are the lines of dialogue that stuck with me.

“This is the team wi—that’s got a lady on it,” says Gerald Peary in Computer Chess. “There she is.” Andrew Bujalski’s retro-weirdo comedy plays as a genealogy of the digital age, and here we see nerd sexism in primordial form. It’s a deadpan joke made especially potent by Peary’s halting, baffled delivery.

“I apologize for my appearance, but I have had a difficult time these past several years.” These words, rasped by Chiwetel Ejiofor at the end of 12 Years a Slave, are among the year’s most devastating. In them, you can hear how much Solomon Northup’s experiences have taken out of him, as well as how deft John Ridley’s screenplay is in its use of period language.

People sometimes claim that profanity impinges on a writer’s eloquence, but several 2013 movies countered that idea with their poetic deployments the word “fuck” and its many variations. Like Nick Frost’s “I fucking hate this town!” in The World’s End; Ethan Hawke’s “I fucked up my whole life because of the way you sing,” in Before Midnight; Matt Damon’s “There you are, you cocksucking tenor fuck,” in Behind the Candelabra; and most tersely of all, Robert Redford’s howled “Fuuuuck!” in All Is Lost.

I already gave a couple accolades to Blue Jasmine and Inside Llewyn Davis above, but I still want to recognize my favorite lines from each movie: Cate Blanchett’s “Who do I have to sleep with around here to get a Stoli martini with a twist of lemon?” and F. Murray Abraham’s “I don’t see a lot of money here,” respectively.

Finally, the joys of Frances Ha are manifold, but that screenplay is just overflowing with quotable bits and pieces, “Ahoy sexy!” not least among them. I love movie quotes like these in part because they’re a way for cinema to slither inside my head. I can remember images, even build up a mental archive of them, but dialogue I can pull out in conversation, share with friends, add to our common vocabulary. I suppose the use of pop songs in movies is similar: these disparate works and attitudes get yoked together in my brain, expanding one another’s meanings. I can hum “Modern Love” as I run down the street and suddenly Frances Ha’s entire spirit is with me. These songs and quotes are such fundamentally “cinematic” pleasures, fragments of wit and art I can take away from movies. They’re not all movies have to give. But they’re basic and fun and I love them.

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2012: The Year in Movie Music

moonrisekingdom2

As we begin the long trek through awards season, I have a question for you: What was the best use of music in a 2012 film? I feel like well-curated, well-placed song choices go perennially unrecognized. The Oscars are always willing to award an Original Song or Original Score, but what if the song/score wasn’t original—what if it was just right? So I want to acknowledge the music, whether original or preexisting, whether performed onscreen or played from a recording, that helped define this year’s movies. Here are a few of my own favorites to get you started:

  • The Master, for example, has two such songs: Ella Fitzgerald’s rendition of “Get Thee Behind Me Satan” and Philip Seymour Hoffman’s of “Slow Boat to China,” the former establishing the film’s early ’50s setting and the latter serving as a last-minute emotional bombshell.
  • Paolo Sorrentino’s tragicomic curio This Must Be the Place gets lots of mileage out of the eponymous Talking Heads song, as it’s covered again and again without ever losing its oddball charm.
  • Clarence Carter’s “Strokin'” unforgettably aids and abets William Friedkin’s sick sense of humor in Killer Joe. Has to be the most violent credits music whiplash since An American Werewolf in London.
  • Two songs by yé-yé girl Françoise Hardy found their way into the films of 2012, with “Tous les garçons et les filles” popping up in Attenberg and “Le Temps de l’Amour” scoring Sam and Suzy’s beachfront dance party in Moonrise Kingdom.
  • Finally, Whit Stillman’s Damsels in Distress has an honest-to-goodness musical number set to the Gershwin Brothers’ “Things Are Looking Up,” an audiovisual explosion of optimism that’s also an ideal denouement for the film as a whole.

So I put it to you: which songs were used best?

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Sex and Satin

One night she started to shimmy shake
That brought on the Frisco quake
So you can put the blame on Mame, boys
Put the blame on Mame

In my most recent “Mix Tape” piece over at The Film Experience, I pay tribute to one of the sexiest, greatest song, dance, and striptease numbers in all of film. Specifically, it’s the “Put the Blame on Mame” scene from Gilda, wherein Rita Hayworth burns up the stage in a Rio de Janeiro nightclub with her raw sexual power. As she struts her way into our collective hearts (and nether regions), she also does for black satin gloves what Liza Minnelli did for bowler hats in Cabaret: she turns them into persuasively sexy accessories to her dance, props brimming with erotic energy.

There’s a lot to love in Gilda, including its fiery love/hate relationship, its weird set design, and its overt homoeroticism. But “Put the Blame on Mame” is by far the best part, a few endlessly rewatchable minutes of seduction, style, and psychosexual gamesmanship. Head on over and read more of what I had to say!

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“Me olvidaras…”

Hoy en mi ventana brilla el sol

Y el corazón se pone triste contemplando la ciudad

Porque te vas…

Over at The Film Experience, I’ve posted a short piece about the use of Jeanette’s song “Porque Te Vas” in Carlos Saura’s Cría Cuervos. I’d love it if you took a look. It was a pleasure to write because Cría Cuervos is one of my very favorite films, a pensive and deeply sorrowful rumination on lost childhood, as seen through the eyes of la pobrecita Ana. Better yet, she’s played by the unfathomably talented Ana Torrent (seriously, she makes Tatum O’Neal look like shit), and her mother/future self is the always great Geraldine Chaplin.

It’s that rare cocktail of fortuitous casting mixed with muted but effective style, and writing that conjures up all the strange myths and misunderstandings of childhood. This movie gets at deep-down truths. It’s not just a key classic of ’70s Spanish cinema; it’s also one of the most resonant, mesmerizing films ever made with or about kids. “Porque Te Vas,” with its vulgar, melancholy beauty, is vital to that power. In case you can’t tell, the movie and its use of this song mean a lot to me. What Cría Cuervos accomplishes is, by and large, why I love movies.

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Link Dump: #23

Gotta catch ’em all, Pokekitties. We don’t for sure whether that adorable feline has been manipulated in Photoshop or was actually painted from head to paw (which would be cruel), but either way it’s pretty much the cutest thing Ashley or I have ever seen. Like, OK, Pikachu was pretty cute, but a kitty made to look like Pikachu? Infinitely cuter. On that note, we have links, some of which involve KITTIES. (Oh, and isn’t it awesome that Ashley’s blogging again? You should all give her positive feedback so she writes more often!)

  • The Los Angeles Times has profiles of three of last year’s unrecognized supporting performers. I didn’t think too much of Eve Best in The King’s Speech, but I loved Barry Pepper in True Grit and, of course, Dale Dickey as the fearsome backwoods matriarch in Winter’s Bone.
  • Nothing says “Heaven knows I’m validated now” like Morrissey-themed fan comics.
  • Cynthia von Buhler, artist of all that is cute and weird, presents Cat Head Theatre, with KITTIES performing from Act 2, Scene 2 of Hamlet. (One of my favorite parts!)
  • This Great Gatsby NES game may be a little repetitive and, on the second level, ridiculously difficult, but it’s still very fun and rates highly on the retro novelty scale. Play away, old sport.
  • I will never get tired of those Jameson-sponsored 60-second movie reenactments. Especially when it means a claymation Exorcist and Eraserhead. The power of humorous Internet videos compels you!
  • Crackpot politicians: they’re everywhere! Even in the Minnesota State Legislature. Like Mike Beard, who… whew, just read about it.
  • As the seasons shift to spring, a new and beautiful blogathon arises! I just learned that Bryce at Things That Don’t Suck is hosting Raimifest, and I’ll very definitely be contributing. Maybe this’ll finally give me a chance to watch Spider-Man 2!
  • Want to get really, really pissed off and just generally angry? Then read this interview with Ohio-based artist Richard Whitehurst, creator of “THE RAPE TUNNEL.” His responses to the interviewer’s questions are like physical embodiments of the phrase “pretentious asshole.” He really sucks. [Comments below the interview suggest that it might be a hoax. Still, if someone really did say those things, they would be a horrible person.]
  • Masked Japanese monkey waiters?!!!
  • Paracinema asks the question on all of America’s mind: Is Ben Kingsley the new Donald Pleasence?
  • Finally, want to download a cute, free, new song and support super-independent musicians? Check out the Baby-Proof Bullets!

As far as search terms go, I always love a good Yakov Smirnoff joke, and “in soviet russia presents open you” works just fine. We got more gratuitous, bizarre violence with “girl stabbed in the neck” (hey, that’s what the graphic novel I wrote is about!), and more gratuitous, bizarre mentions of genitalia with “bela lugosi little cunt.” (I can’t even start to figure out that one.) And hey, just for good measure: “movie artist beheading axe mom and daughter.” Yeah. Huh.

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The Sounds of Violence

I’ve been writing an awful lot about horror movies this month, and all my emphasis on cinematic frights makes it easy to forget that horror permeates all media. So, to diversify our coverage, here’s a list of about 10 very scary, Halloween-appropriate songs. Plus, they’re interspersed with bonus songs so you can dig deeper and make the ultimate Halloween party playlist! What’s not to love? (For more Halloweeny songs, check out the spookylicious Kindertrauma Jukebox! Also: YouTube videos come and go. If any of the links below are dead ends, please comment so I can update them.)

10. “Bela Lugosi’s Dead” by Bauhaus

Back when “goth” meant something more than a high school fashion statement, Bauhaus released this tribute to Lugosi, who reached the title state in 1956. Long and atmospheric, the song was featured in the opening scene of The Hunger (1983), where it helped set the mood better most of the confusingly edited, noisy scenes to follow. Its eerie simplicity was an example that director Tony Scott would’ve been wise to follow. Sample lyrics: “The virginal brides file past his tomb / Strewn with time’s dead flowers…”

Also… “Late Night Creature Feature” by The Bewitched is an ode to watching scary movies late at night. The Bewitched is a very cool Minneapolis dark cabaret outfit, and they have my highest recommendation. [Like them on Facebook!]

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I don’t have a title for this

I have a really weird relationship with music. I absolutely love music and I love discovering new artists. I have this habit of, upon discovering a new artist that I REALLY like, immediately downloading all their albums and practically drowning myself in their music and it’s like bliss for about 3 or 4 weeks. But this can be really problematic when you discover an artist like Tom Waits and you fall SO DEEP IN LOVE and then find out that the man has 20+ studio albums, and a shit ton of other stuff, like contributions to other albums, plays and contributions to films, etc. But that doesn’t even defer me. I’m just like OM NOM NOM ART. Sometimes this works out for the best. Like with Tom Waits. I downloaded nearly his entire discography and never looked back; my relationship with Tom Waits’ music three years later is still going strong.

On the flip side of the coin, you have my relationship with, say, Mindless Self Indulgence. I heard ‘Faggot’ one time on someone’s Myspace three or so years ago. And was like OMGWHATISTHISMUSTDOWNLOADALLOFIT! I downloaded the entire discography and for about a year MSI was part of my regular music listening. Then one day, out of fucking nowhere I was like OH MY GOD, THIS MUSIC IS HURTING MY BRAIN and deleted every last song from my computer. Then about a year later, I was like Oh, my God, I really wanna listen to Kill the Rock. So I just downloaded Frankenstein Girls Will Seem Strangely Sexy. All was well for a few months. Then I deleted the entire album from my computer again. And now that I’m writing about it and thinking about that album, I kinda wanna download it right now.

I have a problem.

It’s kind of like this all or nothing mentality. Like, okay, yeah, I could just download that one song I really like or just download that one album BUT what if this particular artist has other songs that I WOULD JUST ABSOLUTELY LOVE and I miss out on them because I didn’t take the time to download more of their music? And I’d have to go the rest of forever not knowing what I’m missing out on. I seriously agonize over this. And I stress out about how incredibly vast art is (because this spills over into all the other art I take in as well): there’s so much awesome and so little time. And then I take into account that I spend a lot of my time worrying about other things, like school and money and food and living and shit, and THEN I take into account the fact that I’m really lazy a lot of the time when it comes to intellectuality and art AND THEN I take into account the fact that I spend a lot of time just passively consuming instead of actively creating and then my head explodes and I have to go asleep for awhile and not look at anything.

I think I’m on the verge of a mental breakdown. I just spent the last 40 minutes laying on the bed in a fetal position with my arms over my face telling my boyfriend not to ask me questions or talk about me. I’m completely on edge right now and vibrating with anxious energy. But I can’t do anything with it because I feel like I’m about to shatter into a million pieces.

I’m moving soon. In about three weeks. I have $214. I’m moving three hours away. I’m going to live with three strangers. I don’t know them. I have to share a room with one of them. I’m going to start college. I have to be able to competently walk to the bus station every day or find some other transportation to ensure that I get to class every day because I’m 21 years old and still haven’t found the courage or willpower to learn how to drive a car. I have to find a job out there, right away, so I can pay rent and buy food and live.  I’m very anxious about this even though I really, really want it. I can’t help this anxiety. Big changes don’t happen to me very often and I have no idea how to deal with any of it psychologically so I just kind of freeze up and lay on the bed in a fetal position telling my boyfriend not to talk about me or my life or my future because it makes me feel like there’s fire inside my stomach.

I applied for a job at the Target near where my apartment will be. They said they couldn’t offer me a position at this time. Fuck them.

Andreas is going to be here soon. But I can’t really get excited about it even though I miss him more than anything and want him here with me because he’s arriving AFTER I move and thinking about anything beyond that makes me feel like I’m made of rubber. I told Andreas earlier today that I felt like a piece of rubber. He asked me what kind of rubber. I said “A dirty piece of rubber that’s been laying on the ground for awhile.” I don’t know how else to explain how I feel right now and I don’t know how to elaborate on that metaphor.

I feel like trying to do anything right now is way too taxing. It feels like too much pressure. Reading a book would be too much work. Bathing would be too much. So would cleaning my room. And I can’t even think about starting to pack. When I think about trying to pack, I look at my room and at the mountain of clothes in the corner. And then I look at the walls and all the papers and art and posters and pictures on the wall and I think about how long it’s going to take me to take all of it down and make sure that it’s all safely packed away so that I can put it back up later. And then I just stop thinking about it and read something online or listen to music because I would rather put it all off to the last minute and then have to scramble to get it all done than do it all in a timely fashion over the next three weeks.

I went three days without brushing my teeth. Do you have any idea how gross that is? I left my electric toothbrush at my dad’s house, which made me incredibly sad, so I had to use my nephew’s small toothbrush. I asked my mom to buy me a $1 big person toothbrush at the dollar store. She did. So I brushed my teeth like five times in the past 24 hours. I need to brush them again really soon. I need to take a shower. But it feels like an impossible task. I don’t know why. I like taking showers. I want to cut all my hair off. It’s too long, too thick, it makes me really hot, and I hate dealing with it. I don’t want hair anymore.

I’m sorry for this insane, frenetic blog post. But I feel a lot better now.

Note: When I am this emotionally unstable the smallest things can send me over the edge. In the same sense, the smallest things can completely alter my mood and lift my spirits. I have been craving popcorn for weeks and very frustrated that we have none. I was about to make some Ramen when I noticed THREE BAGS OF POP SECRET sitting behind the coffee maker! WTF? Who hides popcorn! And they were dusty! Who hides popcorn for that long?! So I made two bags of it and I am totally nomming the fuck out of this popcorn and I feel like a completely different person than I did several hours ago. Popcorn, FTW.

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