Captain’s Log: 6 February
Last movie watched: Cool Hand Luke (completely flipped out – there’s a scene where they’re tarring the road where the score is – and I SWEAR this is true – the theme song for the National Nine News. Seriously. Whose idea was that? Because nothing says authority in newstelling like a chain gang?)
Quite fortuitous that some of the movies in the 1970s had some great music behind them. Take 1973’s The Sting, one of my all-time favourite movies, and my favourite Redford/Newman (another Newman!) vehicle. Scott Joplin’s “The Entertainer” underscores a rollicking good yarn about fleecing the rich evil guys. Tremendously entertaining and with fantastic performances from Newman (rarely will you find a better performance within a performance than his card game) and Redford (my, he was young). It's smart but not overproduced, and so much fun. I love the period-ness of it all. The poster, the costumes, the sets...all of it spot on.
My word they were suckers for black and white posters in the 70s. Moving on to 1975’s One Flew Over the Cuckoo’s Nest. Anti-authoritarian Randall P. McMurphy is admitted to a psychiatric hospital, presided over by one terrifying nurse (Louise Fletcher, being awesome). It becomes a battle of wills between these two powerhouses: fiery exuberance on one side, icy quiet determination on the other. It was the second of only three movies to win the Big Five (remember we talked about It Happened One Night? You'll be quizzed on this later...) Oscars, and one of Jack Nicholson’s most indelible roles. Special appearances from Danny DeVito, Christopher Lloyd and Brad Dourif. Apparently Ken Kesey, the author of the book upon which it was based, hated the movie. Writers are weird.
Last movie watched: Cool Hand Luke (completely flipped out – there’s a scene where they’re tarring the road where the score is – and I SWEAR this is true – the theme song for the National Nine News. Seriously. Whose idea was that? Because nothing says authority in newstelling like a chain gang?)
Song currently stuck in head: The Baywatch theme song. Don’t judge me.
I feel I should have come up with a different, or at least more significant song for the above, seeing as today’s oblog is about the awards for Best Original Song and Original Score. I suppose a case could be made for the idea that the only reason “I’ll Be There” didn’t win an Oscar was because it was used on a TV show and not a movie. Maybe.
Ok, so these are two of my favourite categories, largely because I f
inally feel like I know what I’m talking about. Doesn’t always work out with the winner, or Thomas Newman would’ve won about a million times by now (seriously, listen to the theme from How To Make An American Quilt). But most of the time I can find something redeeming, even if it's only sheer awe at anyone who can put an orchestration together. What confuses me is the term “original”. Several composers have been nominated for scores that derive heavily from their own previous work. Don’t believe me? Listen to the scores for The Ghost and the Darkness and LA Confidential, and then you tell me that Jerry Goldsmith wasn’t plagiarising his own work. It doesn’t really bother me, but I do wonder how it’s justified. Anyway. Needless to say I shall be rooting for Mr Newman (nominated for a lovely score in WALL*E), and also A.R Rahman for Slumdog Millionaire.
inally feel like I know what I’m talking about. Doesn’t always work out with the winner, or Thomas Newman would’ve won about a million times by now (seriously, listen to the theme from How To Make An American Quilt). But most of the time I can find something redeeming, even if it's only sheer awe at anyone who can put an orchestration together. What confuses me is the term “original”. Several composers have been nominated for scores that derive heavily from their own previous work. Don’t believe me? Listen to the scores for The Ghost and the Darkness and LA Confidential, and then you tell me that Jerry Goldsmith wasn’t plagiarising his own work. It doesn’t really bother me, but I do wonder how it’s justified. Anyway. Needless to say I shall be rooting for Mr Newman (nominated for a lovely score in WALL*E), and also A.R Rahman for Slumdog Millionaire.Now. Songs. I adore this category. How can you not love a category whose nominees have included Elton John, Burt Bacharach and Alan Menken, as well as Eminem, U2 and The Counting Crows. I like the capability here to really go for something weird and wonderful. And yes, when they choose something I don’t agree with, I get mad. Case in point: Randy Newman, and my preoccupation with his Song. Well, they gave him an Oscar a couple of years ago, so maybe he’ll be content and leave me alone.
Quite fortuitous that some of the movies in the 1970s had some great music behind them. Take 1973’s The Sting, one of my all-time favourite movies, and my favourite Redford/Newman (another Newman!) vehicle. Scott Joplin’s “The Entertainer” underscores a rollicking good yarn about fleecing the rich evil guys. Tremendously entertaining and with fantastic performances from Newman (rarely will you find a better performance within a performance than his card game) and Redford (my, he was young). It's smart but not overproduced, and so much fun. I love the period-ness of it all. The poster, the costumes, the sets...all of it spot on.So we’ve reached a bit of an awkward part. I’ve seen both 1972’s The Godfat
her and 1974’s The Godfather Part 2, but whatever it is that makes people plotz over these films...well, they just didn’t get me. I’m willing to acknowledge that so many people are in love with them that there must be something extraordinary about them. And the music is definitely one of those memorable tunes. Daaaa, dadada daa...da daaaaa. You know. The plot is your basic multi-level epic mafia family thing (read: pretty darn good) and it’s got a packload of great actors (Pacino, Brando, Caan, Duvall...). I'm not sure I remember much of the second movie, and I do remember vividly some little scenes of the first. The horse's head. Tomato sauce (?). A phone booth riddled with bullets. Oranges. Sounds just odd enough to be sinister, yes?
her and 1974’s The Godfather Part 2, but whatever it is that makes people plotz over these films...well, they just didn’t get me. I’m willing to acknowledge that so many people are in love with them that there must be something extraordinary about them. And the music is definitely one of those memorable tunes. Daaaa, dadada daa...da daaaaa. You know. The plot is your basic multi-level epic mafia family thing (read: pretty darn good) and it’s got a packload of great actors (Pacino, Brando, Caan, Duvall...). I'm not sure I remember much of the second movie, and I do remember vividly some little scenes of the first. The horse's head. Tomato sauce (?). A phone booth riddled with bullets. Oranges. Sounds just odd enough to be sinister, yes?
My word they were suckers for black and white posters in the 70s. Moving on to 1975’s One Flew Over the Cuckoo’s Nest. Anti-authoritarian Randall P. McMurphy is admitted to a psychiatric hospital, presided over by one terrifying nurse (Louise Fletcher, being awesome). It becomes a battle of wills between these two powerhouses: fiery exuberance on one side, icy quiet determination on the other. It was the second of only three movies to win the Big Five (remember we talked about It Happened One Night? You'll be quizzed on this later...) Oscars, and one of Jack Nicholson’s most indelible roles. Special appearances from Danny DeVito, Christopher Lloyd and Brad Dourif. Apparently Ken Kesey, the author of the book upon which it was based, hated the movie. Writers are weird.Last of all, it’s Annie Hall (rhymes!), Woody Allen’s 1977 film about a nervy, 
neurotic guy named Alvy, and his obsession with a woman named Annie Hall. As distinguished from the other Woody Allen movies featuring a nervy, neurotic guy with an obsession. It’s sort of classic Allen, with rambling discussions on the nature of things, and was one of the first movies to use the “breaking of the fourth wall” technique. Its tagline is "A new comedy", which is, I suppose, an attainable goal... It’s also fairly famous for introducing the “Annie Hall look”, which I think was really Diane Keaton’s own fashion sense. That being, in a nutshell, pants.
neurotic guy named Alvy, and his obsession with a woman named Annie Hall. As distinguished from the other Woody Allen movies featuring a nervy, neurotic guy with an obsession. It’s sort of classic Allen, with rambling discussions on the nature of things, and was one of the first movies to use the “breaking of the fourth wall” technique. Its tagline is "A new comedy", which is, I suppose, an attainable goal... It’s also fairly famous for introducing the “Annie Hall look”, which I think was really Diane Keaton’s own fashion sense. That being, in a nutshell, pants.Well, I think we’ve learned something today, and I’m well on my way to becoming a hermit, so I should probably try to get outside for a minute or two.
Not long to go now...
[on being presented with Luca Brasi’s bullet-proof vest, wrapped around a fish]
“It's a Sicilian message. It means Luca Brasi sleeps with the fishes.”
--- Richard S. Castellano – The Godfather ---
“It's a Sicilian message. It means Luca Brasi sleeps with the fishes.”
--- Richard S. Castellano – The Godfather ---
Those crafty Sicilians.
2 comments:
Wow, I was rockin' the Annie Hall/Diane Keaton look today and I didn't even realise! Kickarse. Also: I feel I am learning heaps and heaps about the Oscars! This will come in handy at parties...*furiously scribbling down notes*
Yes, finally my useless knowledge is coming in handy. I knew the internet was good for something :) If only I could get paid for it!
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