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I don't know, the prospect of hearing Goldsmith's "Nicaragua" cue from Under Fire in this actually makes me eager to see the film. I mean, not based on that alone, but still, Goldsmith...
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ya know, whiLe i like QT's "my record collection" method i can think of only two really inspired uses of music in his films:
"GIRL , YOU'LL BE A WOMAN SOON' by Urge Overkill in PF
'ACROSS 130TH STREET" in JB
Just my personal take
brm
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that was cool, but not "inspired" , whatever the hell that means
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Not the biggest fan of him. Maybe it's just me.
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I can report that QT's use of Goldsmith's "Nicaragua" cue from UNDER FIRE is pretty overwhelming as it's used in the film. I did not know beforehand that Jerry's music was being used, and I have to say it really got to me. The music really carries a lot of the emotional weight of the scene and I got a little emotional, I must admit. And this is not just a snippet played in the background as a temp track either, it's virtually the entire cue, played with no dialog, straight through to Jerry's awesome climax in the brass. I got chills then, and have them now just writing about it.
We all knew about Tarantino's thing for Morricone, and for Bacalov, but I never knew that Goldsmith was on his radar until I saw DJANGO. And I really have to say, very well played...
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We all knew about Tarantino's thing for Morricone, and for Bacalov, but I never knew that Goldsmith was on his radar until I saw DJANGO. And I really have to say, very well played...
I think everything is on his radar. The man understands the world through the lens of cinema.
For total validation of what you just said, try reading Tarantino's interview with Brian De Palma, where they spend most of the time discussing Pauline Kael's review of BLOW OUT, and Tarantino talks about how badly wanted there to be a Pauline Kael review of PULP FICTION when he released the movie (she'd sadly retired by then). It's movie nerd heaven and QT really shows the range of his background and knowledge of all kinds of film, not just the influences he wears on his sleeve.
The guy continues to impress. Anybody who can get Ennio Morricone to come out of virtual retirement to write a spaghetti western ballad for a 2012 slavery revenge fantasy, has got some serious pull.
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Posted: |
Feb 5, 2013 - 3:15 PM
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By: |
Grecchus
(Member)
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This was the last movie I'd seen since, er, Prometheus?
It was the 4:00pm showing at an Odeon in the town of Dawgxitt (a shithole of a home town, for the hard of hearing). Other than myself and three other people, there was nary a soul to be seen. I arrived in time to see the previews, which throughout the run was covered by two extremely bright lights on either side of the auditorium. Being in the middle it was not totally impossible to see the trailers, but, what the heck - it wasn't the main feature.
So, the main feature starts, except that G1 and G2 are shining just as brightly as ever well into the main title. Anyway, one of the three decides to get up and go for a walk because it seems the 'projectionist' was away with the fairies. As if that was not bad enough the chill that hung in the auditorium since entering and sitting down had developed ever such an edge. Out come my scarf and gloves. It was a bonus my breath wasn't condensing to spoil the view, still overshadowed by the flaming side lights. The guy who'd upped and gone to inform the "guardians of the flick" arrives back several minutes after hailing the powers that be about the twin suns hanging over the picture. Minutes go by. Still more. Then the two flanking lights suddenly wink out and . . . relief . . . I can see . . . images . . . on the . . . screen!
Suffice to say that in spite of bitter cold endured for more than three hours, the same four who entered all leave at the end of the picture. What else I can say about the film can be safely left to the imagination.
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Anybody who is a fan of Italian western's will love this flic.
If you are unfamiliar with the genre you should enjoy it also,
Qt's best film
check it out!
brm
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