Word: soundtracks
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Dates: during 1970-1979
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...unperturbed upper crust executive getting off a suburban local; next, he cuts even deeper to a white woman nonchalantly trimming the white locks of her baby poodle. All this, to a background of pristine Brubeckian pop, a cruel contrast to the rest of the film's dynamic, gutsy soundtrack...
...soundtrack wasn't much better. It was often very hard to hear what was being said, what with what I assume were "artsy" sound effects. You know, "well, it's such an unsettling place, with all the different sounds and all. Let's make the soundtrack unsettling in the same way," or something to that effect. What must have been especially annoying for many members of the audience was the ceaseless repetition of a set of five short bleeps, followed by a sixth long one. The cognoscenti of course knew that those bleeps were the signal for the Israel Radio...
...background, literally and figuratively, is where the thirties settings stay, unpretentious, accessory: a blurry old Coke sign reminded me how much more obtrusive the nostalgia bit is in some other recent films, say Robert Altman's Thieves Like Us with its repeated Coke signs and radio soundtrack that just won't quit...
...left a strong personal imprint on the production; for the most part it plays itself in a straightforward manner, running two and a half hours. But he has chosen to underline the thematic importance of the sea. Not only do the waves move, but he also gives us a soundtrack of their swashing, and even an actual ocean mist. When Viola is washed up on the Illyrian shore, she turns and takes a long look at the ocean before telling the Captain, "Lead me on." At the very end, while the Clown sings the stanzas of "When that...
...elevate the slave's image by altering his name (he is Nigger Jim no longer, just plain Jim) and giving him a couple of songs to sing. "Gotta get away to Cairo/Ai-ro/Illinois!" he croons brightly with Huck as they pole their way upstream toward freedom and a soundtrack record album...