Word: soundtracking
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Metropolis has achieved a cult-like status thanks in part to Giorgio Moroder’s re-release of the movie with a new soundtrack in the 80s. But by focusing solely on Metropolis, viewers fail to realize the importance of Lang’s many other films. His great silent films such as Destiny (1921), Dr.Mabuse the Gambler (1922), and Die Nibelungen (1923-24) should not be ignored. Bunuel believes that Destiny opened his eyes to the poetic expressiveness of the cinema. This fantastical film, which is about the fight of the individual against the forces of death...
...stops for I Am Sam. The first-time director cast the versatile Sean Penn as the lead, the sassy Michelle Pfeiffer as his lawyer and an adorable little girl (Dakota Fanning) as Penn’s daughter. If that weren’t enough, Nelson fills the soundtrack with catchy Beatles tunes. (You may recently have heard Aimee Mann and Michael Penn’s Two of Us on the adult contemporary airwaves.) All of this adds up to a pop movie—an entertaining treatment of a formulaic story...
...barely mentioned the product, except for a flash of the swoosh logo. Instead, against a spare backdrop, they showed expert dribblers dexterously pounding basketballs and executing trick maneuvers. Call it basketballet. The squeak of their soles and the thump of rubber provided a primal, trance-inducing soundtrack (with some help from hip-hop legend Afrika Bambaataa). The message: Sport is music. Sport is dance. Sport is art. And so was this...
...adamant that it's a break, not a breakup. "All are exploring solo opportunities," he insists. "We're giving the sound a break." So Michelle Williams (far right), 21, will have a gospel album; Kelly Rowland, also 21, has a single on this summer's Men in Black 2 soundtrack, and Beyonce will be in the new Austin Powers film. They'll still tour. As Rowland explained to a reporter, "You know how the Beatles broke off, they all did their solo projects, and then they came back together, and they were even stronger?" Psst. Kelly? They never...
Without a doubt, the highly stylized Tenenbaums is instantly recognizable as an Anderson film. In addition to his characteristic jump shots, Anderson once again employs an eclectic soundtrack to galvanize his film. Although his musical selections for Tenenbaums fall within the same vintage as Rushmore, he now substitutes the more upbeat British Invasion tunes for a darker, more melancholic sound appropriate for his newest film’s more depressing themes. Songs by Elliot Smith, Nico and the Rolling Stones pepper the soundtrack, and his use of instantly recognizable songs (“Hey Jude” blares over...