Word: soundtracking
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Dates: during 1990-1999
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...Swedish band, the Cardigans, it resides in the encounter of contrary instincts--the sweet, seductive purr of joyful music and the dark, cruel snarl of painful obsessions. Remember "Lovefool," the song from a couple of years ago that burst off the Romeo + Juliet soundtrack and was suddenly, like the fixated ex-lover it depicted, lurking stubbornly everywhere you looked? Few songs have snuck a more subversive view of love into the frivolous dance arena of top 40 radio. You'd scarcely realize from the jubilant disco drums and the syncopated keyboard touches that the song was actually about wretched abjection...
Rather than the famous "Now is the winter of our discontent...," Sussner's production begins with a creepy gothic soundtrack and a series of strobe-lighted pantomimes predicting (in reverse order) the murders that lead to Richard's kingly demise. Though the twisted, dehumanizing feel of the play is well captured by this unsettling preview, its final effect is desensitizing. Rather than beginning (as Shakespeare does) with a group of characters whose humanity is undermined as the play progresses, the humanity of Sussner's cast is defaced from the very start. Though David Egan '00 (Richard) and the other cast...
However, not all of the songs maintained her early energy. As the show went on, many started to drag, including the new compositions "I Want To Want You" and "Bad Day." Even the popular "Spin The Bottle" (as featured on the Reality Bites soundtrack) couldn't completely capture the fancy of the crowd, despite Juliana's assertion that it was a "song about Robert Redford...
...self-possession one would expect of the woman herself. Opposite him in this scene is Green, with a Muppet-like rendition of Lavinia, the tongueless assistant. The idea for the scenario is mediocre at best, but the caricatures by Amblad and Green in conjunction with the cheery daytime TV soundtrack definitely took the humor up a notch...
...only frightening thing in the movie is the soundtrack, filled as it is with the dreadful musical stylings of Insane Clown Posse and Rob Zombie. With just a sprinkling of self-consciousness and heaps of bad taste (the bad taste in this movie easily surpasses that found in John Waters's recent, limp Pecker), director Yu has made a B-movie that can easily stand next to such giants as Faster Pussycat! Kill! Kill!, Plan 9 From Outer Space and Troma classics like Surf Nazis Must Die and Class of Nuke'em High. The concept is not just perfectly ridiculous...