Word: soundtracks
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...little tired of fun, harmless adventure and fantasy films; suddenly every movie had to have a point. Not only did the movies have to have points, the points had to be, like, relevant--remember that word? And it was very In to have a folk-rock group provide a soundtrack with songs that had little or nothing to do with the plot but somehow all fit together because everyone agreed that war and air pollution and middle-aged guys with brief cases were bad news. Then people got bored with war and air movies with points the nobody could figure...
...music that accompanies the car exhibit is a soundtrack, a collage of songs, played--the dealership never missing a trick--on a Delco car stereo speaker. "Love Me Tender." "Heartbreak Hotel." You have to love "Heartbreak Hotel," even if the man next to you is being an idiot, and poses next to the car in a mock Elvis stance that's more embarrassing than funny. It's just a great song. The guy thinks he's the life of the party. In the open back seat of the limo is a shirt and flashy fender guitar. Never played. Never worn...
Zalmie is wounded while performing in a USO show during World War One and returns home, maturing into a sort of Vito Corleone. America becomes the battleground, and Al Capone-style gang killings flash left and right, suspended in a vacuum, as "Sweet Georgia Brown" trumpets on the soundtrack. After Zalmie's wife is gunned down, he goes to his son Benny who is playing jazz with blacks, and pleads, "If you won't live my dream, at least live my life"--a characteristically melodramatic clinker that calls embarassing attention to itself...
...crazy. Do you know what happens to acting when it's projected?" It Loses truth. It hurts when you start to project Chekhov to a thousand-seat theater. I wanted something even more intimate than Chekhov, yet I wanted something gigantic too...I try to combine the radio-film soundtrack technique with realistic Brechtian staging, bridged by an element of cinematic imagery...
...director also breaks down the one-to-one relationship between killer and killed. In a terrific battle scene, Kurosawa doesn't even show a gun going off--shots from the dark pick off one soldier after another, and the soundtrack is filled with clinking spears and screams. In the final battle we see volley after volley of an immense line of rifles, and we hear men shrieking, horses whinnying and bodies falling, but only after the last shot is fired does Kurosawa cut to the battlefield itself. Then he gives us, in slow motion with hollow trumpets ironically restating...