X Songs for X People
I’ve followed one Patricia (Patti) Abbott on the web through her blog for more than a couple of years now. The Detroit-based Patti also hangs out…
Same Song, Different Movie: Canzonetta Sull’aria by Mozart
Continuing my thoughts from February regarding the use of song in film, “needle dropped” tunes are not officially considered part of a film score — those orchestral, choral, or instrumental pieces some consider background music. Both are equally utilized as cues by filmmakers for a specific purpose or to elicit certain reactions by the audience. I’m fascinated by this in general, and movie soundtracks have long intrigued me. A convergence of the music and film arts I’ve allocated much time toward. Some (not all) movie soundtracks have incorporated those songs the director or music programmer have showcased in their movie along with the film’s score.
Guest Film Review – Joe Wright’s Anna Karenina: The cost of desire and the value of authentic love.
It’s my distinct pleasure to welcome back Ronan Wright, the blogger and editor of the site Filmplicity. Back in January, my friend wrote a wonderful piece for…
Friday Song: Only The Lonely by The Motels
Sometimes, you run into an infectious song that immediately clicks with you and your ear. You play it, and play it. Over and over again till…
TMT: Ran at the Royal
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. As I’ve stated before, “… what really kicks off an entry… most of the time is other bloggers.” In this case, Monica’s guest post over at Tyson Carter’s site, Head in a Vice, had the honors. Her look (published in the U.S. on Veteran’s Day) at one stellar epic by a master of cinema kicked off this memory download.
“This is truly one of the most epic Japanese films of the Feudal era. The fabric of story that Kurosawa has weaved creates an awe dropping experience that completely engulfs the viewer in a web of deep-rooted plot. It doesn’t overwhelm you to the point where you are sitting there wondering who is who and what just transpired. It’s laid out in a way that one can fully understand the characters and where their loyalties lie.”
Lovely
Finally catching up with articles (funny how things like that pile up), I needed to send a shout-out and a warm thank you to Mike, he…
Reprise – Friday Forgotten Song: You Only Live Twice
With today’s opening of Skyfall, the 23rd in the famed and long-running James Bond series, and last year’s passing of one of the all-time great film composers, John…
Same Song, Different Movie: First Time Ever I Saw Your Face by Ewan MacColl
Continuing my thoughts from February regarding the use of song in film, “needle dropped” tunes are not officially considered part of a film score — those orchestral,…
Experiment in Terror Film Review
We’re at that time again, and it didn’t seem like it took that long to get here. Fall has fallen, and we keep tumbling toward the…
Movie Title Sequence: Experiment in Terror
This is the relatively simple movie titles sequence to Blake Edwards’ stellar film, Experiment in Terror (1962). Yet, the opening remains one of the eminently moodiest in…
Halloween Sundries on the Eve
As my writing partner Rachel and I have established the habit of publishing them on the last day of each month, our final duo post review…
Same Song, Different Movie: Clair de Lune by Claude Debussy
Continuing my thoughts from February regarding the use of song in film, “needle dropped” tunes are not officially considered part of a film score — those orchestral,…
Friday Song: Tubular Bells by Mike Oldfield
It seemed the natural thing to do. Culminate my Exorcist week with the iconic instrumental so thoroughly associated with the film. A non-vocal tune that would equally impact the Top 40 pop chart like only a handful from the surrounding decades. No one seems to produce this art form in this day and age. Sure, I’ve highlight one from way back, and the 80s were more loaded than usual (Top Gun, St. Elmo’s Fire, Chariot’s of Fire). Still, none of those came from a horror film or carried the weight of a movie like Mike Oldfield’s did. To this very day, in point of fact.
TMT: “Now free me…”
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. I’m sure this will come as happy news for some, but we’re almost done with my week of posts on The Exorcist. With what happened back in ’77, there had to be a redemption coming. At the very least, for the franchise, the story, and ultimately for those who returned to the movie theater. Fortunately, it came from the one closest to the source.
TMT: Recognizing Crap From the Balcony
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Continuing my trek with one particular film franchise this week for the month October, strictly as a fan of monster and horror films mind you, here we go again. And I have screenwriter Josh Olson to thank byway of his July 18th look-back (over at Trailers From Hell) at an era’s “terrible, terrible idea” for a movie, and thus crystallizing for me the following remembrance.
The Exorcist, or Learning to Live With the Devil
Contrary to what occurred this past summer with a seminal film from the 70s, I don’t think she-who-must-be-obeyed will ever give her permission for me to…
TMT: “There are no experts.”
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Returning to my theme for the month October, as a fan of monster and horror films since childhood, I thought to tie these memories within that genre. And I’ve waited to delve into this specific film for some time now. Especially, since a great deal of history lies in the attic with this one. Might as well have candlelight flare at this very moment.
TMT: Whoa
This is the next entry in a Theatre… a Movie… and a Time, a series that was begun here. Since the beginning of my Versus AFI: 10 Top 10 arc,…
Welcome Home
This was literally quite something. It skirted around the neighborhood I call home, too. Began early Friday morning, congested traffic like no one business (yet, we…