My Favorite Film Scores

It’s been two weeks since I experienced it in the theater, and I still can’t get Barry Jenkins’ If Beale Street Could Talk out of my mind.  It’s the best film of 2018 and one of the best of the decade, by the way.  I encourage you to see it in a theater with someone you love and then tell everyone you love about it.

One of the big reasons it continues to haunt me is Nicholas Britell’s extraordinary score.  The themes he created (especially “Eros” and “PTSD” and “Hypertension”) ear-wormed their way into the ever-present background music of my mind, and when they work their way to the forefront…Barry Jenkins’ images, James Baldwin’s characters, the performances, and most importantly, the feelings all come rushing back.  When I first heard “Eros” in the theater in the context of a poignant love scene, I instantly thought, “This might be one of the best film scores of all time.”  Then there was “PTSD” like a hammering heart building up to a panic attack in the background of that scene where Fonny’s friend, fresh from prison, slowly reveals his thoughts on his brief stint in prison and the worst part of it…the fear.  It’s echoed later in “Hypertension” when a racist cop harasses Fonny and Tish outside an Italian market.  You feel the fear not just through the characters, but through Britell’s music.  I knew right then, indeed, Britell had composed something for the ages.

My favorite film scores often mirror (and elevate) my favorite films.  They can’t be extracted from the context of the film they help breathe deeper life into.  When I hear the music in my head, images and feelings from those beloved films rush through me.  Memories from my life at the time I first saw the film, or from ensuing years where thoughts of the film or revisits punctuated pain, joy, and transitions often mix with the memories of the film.  All of it forming a rich tapestry or sound and images and feelings. Continue reading

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The Spin on Paul Thomas Anderson

A master schooling a master.

In honor of the release of The Master later this month, The Spin is turning its wheels towards Paul Thomas Anderson – writer/director extraordinaire – a true auteur. The great chronicler of Southern California, cancers both physical and metaphorical, dysfunctional makeshift families, deranged father-figures, damaged sons, melancholy and death is arguably the most ambitious American filmmaker working today. But he has only achieved that status through evolution…through finding his voice. Here we will revisit his three most signature works: Boogie Nights, Magnolia and There Will Be Blood and track the course of his discovery.

“This is the film I want them to remember me by.” – Jack Horner, Boogie Nights

On its surface, Boogie Nights – the grand piece of nostalgia celebrating a pre-AIDS, pre-video porntopia – would appear as a lark – a jokey, ballsy, “Look, Ma, I’m a Hipster Director!” type feature designed to showcase a young man’s skill behind the camera and his cocky nerve to tell a scandalous tale. When you look deeper, the film is anything but that.

Continue reading

Revisiting There Will Be Blood – The Best Film of the 2000’s

Most film bloggers and critics raced against time and each other to get in their “Best Films of the Decade” lists after the clock struck midnight and we were suddenly thrust into Arthur C. Clarke’s…dun dun dun…TWO THOUSAND AND TEN.  With the past decade so fresh on our minds, so many films yet to be seen or uncovered, so many to re-watch and re-examine, and the world-famous polling for this decade not to start until April over at Wonders in the Dark…it seems like there is still so much left to say about the 2000’s, or the Noughties as people like to call them now.

Yet all I can think of is one word.

DRAAAAAAAAAAAAAINAGE!

Drainage, my boy!!!!!!!!!!

Looking back, the 2000’s were to my generation what the 1970’s were to my father’s.  It seemed the dawn of a new golden age.  Gone were the nostalgia tinted frames of the 1980’s and 1990’s and here was the first decade to exist completely within the context of my adulthood…under the harsh scrutiny of my ever-evolving critical eye.  This was a decade where film reflected the big ideas, big dreams and previously unimaginable nightmares of the post-millennial, post 9/11 generation.  Continue reading

Revisiting Paris, Texas — The Best Film of the 1980’s

Let’s go for a drive.

…Paris

 

Texas!

 

Paris, Texas

Putting the two words together is something of an oxymoron.  A comma between them becomes a pregnant pause.  Two places couldn’t be further apart than Paris and Texas.  We can’t seem to come to terms with its existence as a real place…but then we see a picture of that barren stretch of land.  For a man named Travis and his son Hunter it becomes the center of their universe, the origin of all things, a place achingly unreachable, alive only in their dreams where they long to be with a woman named Jane in a faraway land where the purchase of a remote plot of dirt represents the key to a happiness that could never be.

It’s a place that can only exist as an “idea   ——-   of her…love…family…redemption…the movies.” Continue reading

Well If You Must Scream

We can scream if we want to!

We can scream if we want to!

Inspired by the current polling going on at Wonders in the Dark  (which for my money is the best movie blog site on the web right now) concerning the Best Films of the 1970’s, I decided to catch up on some of the great films from that decade I had yet to see.  One thing led to another, and there I was with the obscure Edvard Munch sitting atop my Netflix queue.  Directed by renowned forefather of the docudrama, Britian’s Peter Watkins, this complex and nearly four hour long biopic of Norwegian post-Impressionist painter Edvard Munch was originally made as a miniseries for Norwegian/Swedish TV in 1974.  It was released theatrically around the world in 1976 and was recently done up as a two-disc special edition on DVD.  I watched it in those two parts over the course of two nights and was completely transfixed.

Brazenly presented in the style of a documentary, Watkins’ film begs you to feel as if his cameras were literally there from “moment one” in Munch’s childhood during the late 1800’s all they way up through the abrupt close of the film half way through his life around 1910.  Continue reading

The Best Screenplays of All Time

On Sunday February 22nd at the Oscars, Martin McDonagh will be competing for the Best Original Screenplay for In Bruges.  For me, this was one of the most brilliant scripts in years–darkly comic, heartfelt and compelling, expertly paced and chock full of quotable lines.  Sadly I don’t think it will win–oh, please prove me wrong, Academy–but it made think of all the great scripts from Hollywood’s past.   What films were memorable not just for their imagery, but for the writing as well?  What films contained amazing performances that were great because of the material the performers were given and the dialogue they spoke?

What screenplays are deserving of being considered the best of all time?

Well, here’s this writer’s list:  Continue reading

80th Annual Academy Awards Predictions and Drinking Game

The 80th Annual Academy Awards aired Sunday Night, February 24, 2008.  Below were my predictions for the winners in the major categories.  The actual winners were filled in after the Oscars were announced.

It was an off year for the Academy as they chose the absolute worst film for Best Picture as a way to finally reward the Coen Brothers (just as I sadly predcited).  Meanwhile, the Schleicher Brothers tied for the lead in the Oscar Pool with 13 correct predictions from 24 categories.  This was off from my personal best from last year where I scored 17 correct predictions. Continue reading

Super Bowl Party Drinking Game XLII

A degenerate like myself never needs an excuse to drink or gamble, yet they still insist on playing the Super Bowl every year.  Quite frankly, I couldn’t care less about the game.  I’m a one sport kind of fan, and my heart belongs to baseball.  However, I never turn down the opportunity to legitimize my vices.  Super Bowl XLII boasts more appeal than usual as the showdown between the New England Patriots and the New York Giants in Arizona heralds that classic Boston-New York rivalry all sports fans love.  The Pats also have the chance to become the first unbeaten team since the 1972 Miami Dolphins.

Now let’s get serious, folks, do we really need a drinking game designed around the Super Bowl?  Heck no!  Most people will be blitzed before kick-off.  Here I present a drinking game for the Super Bowl Party most Americans will be attending.  The Super Bowl Party allows for some keen observation of human behavior while socializing with people of all ages in various forms of food and alcohol induced inebriation. Continue reading

The 2nd Annual Davies Awards in Film

The year’s best film , There Will Be Blood, closed in a orchestral flourish with this amazing piece from Brahms.  It was a fantastic way to end a wonderfully strange year at the cinema.

2007 ended up being a great year for films, possibly the best since 1999.  While 2006 was consistent in its passably entertaining mediocrity, filmmakers seemed to take more chances in 2007 leading to more highs (see below), more curiosities (The Assassination of Jesse James by the Coward Robert Ford, Beowulf, Sweeney Todd), and more lows (I Am Legend–not quite legendary).  The year’s two greatest films explored Greed and the American Dream.  There Will Be Blood took an epic approach to explore how greed driven and focused can build nations while slowly devouring the soul of the individual, while Before the Devil Knows You’re Dead took an intimate approach and explored how greed ill-planned and misdirected can destroy a family in the blink of an eye.  While Hollywood seemed to cash in on more name brand sequels and three-quels than ever before (and the public ate them up ad-naseum only to quickly forget them a few weeks later) three trends stood out in my mind that I feel defined 2007: Continue reading

A Review of Paul Thomas Anderson’s “There Will Be Blood”

The World of Blood and Oil According to Plainview, 6 January 2008
10/10
Author: David H. Schleicher from New Jersey, USA

*** This comment may contain spoilers ***

There’s a recurring nightmare of mine where I am falling down a well. Our reality is an illusion. This life is simply the dream we have while we are actually falling down a well. It always seemed as if the well was bottomless. After watching “There Will Be Blood” I discovered the well has a bottom. At the bottom of the well is one thing. Oil.

Also falling down this well was “The Performance.” Watching Daniel Day Lewis play the unstoppable, unshakable, unfathomably misanthropic and greedy oil man that is Daniel Plainview, one is left to imagine that “The Performance” was always out there. It always existed somewhere in the ether, in our collective unconscious, in our nightmares and anxieties. It took a visionary auteur like Paul Thomas Anderson to realize that if he did a modern film update of Upton Sinclair’s early 20th century novel “Oil!” and ominously renamed it “There Will Be Blood” then this performance could be channeled onto celluloid as a testament to the defining struggles of 21st century mankind.

Blistering cinematography of stark California landscapes from Robert Elswit, an evocatively organic and haunting music score from Jonny Greenwood (from the rock band Radiohead), and the beautifully fluid movement and framing of Paul Thomas Anderson’s maniacally calculating camera grab you from scene one and never let go. Daniel Day Lewis moves through the film like a cold burning firestorm combining and combusting with the technical elements and the fabulous ensemble cast around him to create a rising tension that is unlike anything experienced in cinema since the golden era of Stanley Kubrick.

The story is multilayered and allegorical. Led to an untapped area floating in dust on rivers of oil by a mysterious young man, Plainview soon comes face to face with that young man’s twin brother, Eli Sunday (a fecklessly manipulative Paul Dano). Eli is a wunderkind preacher at the Church of the Third Revelation and has the town wrapped around his finger with his claims to be a healer and prophet. Eli agrees to let Plainview buy his family’s land for the right price. The profits are to be used to build a bigger church. But when Plainview refuses to let Eli properly bless the drill site, a series of events unfold that Eli trumpets as acts of “God” while Plainview views them as results of meddling people he can scarcely see any good in and must crush.

The heart of the movie lies in Plainview’s relationship with his adopted son H. W. (a wonderfully naturalistic and quietly expressive Dillon Freasier). When the boy is injured on a drilling site and loses his hearing, Plainview, torn by his love for the idea of the boy looking up to him and the friendly face the boy has leant to the family business, abandons him only to latch on to a shady vagabond (Kevin J. O’Connor) who trots into town claiming to be his long lost brother Henry. Plainview’s replacing of a fake son with a fake brother shows his character’s deep-seeded and wounded need to connect to someone when insatiable greed has been his only driving force.

To explore in detail the film’s deeper message and resonance for today’s audience would be to spoil the ending. Suffice it to say, after the slowly infectious, nerve-shattering build-up, the film culminates with a soliloquy from Plainview to Eli that will make your jaw drop. In the end, it lives up to its title. There was blood. Whose was spilled is not a matter of debate, but what that blood says to its 21st century audience will be discussed and argued and studied for years to come. If you want to know what happens when greed guised in religious zealotry falls down a dark seemingly bottomless well with greed blatant as corporate capitalism, look no further than this film. There is a bottom to that well. There is a winner at the finish line. Meanwhile the blood is on the floor, the walls, the desert sand, the silver screen, the nightly news, and pumping through our bodies until we die.

Originally Published on the Internet Movie Database:

http://imdb.com/title/tt0469494/usercomments-59

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Official site:

http://www.therewillbeblood.com/

For further reading, check out this fascinating discussion of TWBB as political allegory and Kubrick Homage:

http://www.filmbrain.com/filmbrain/2007/12/there-will-be-b.html

For the most in depth and enjoyable to read review of TWBB I have come across yet, check out Wesley Morris’ insightful and energetic treatise from The Boston Globe:

http://www.boston.com/movies/display?display=movie&id=10610