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It pains me to be so harsh! Especially any film which name drops my beloved "Bonanza" and actually shows the opening credits of "Mannix." I adore the pop culture of this era as much as you do, Mark.
Yes, it's a love letter to the past. Probably QT's earliest childhood memories, but it's a sloppily-written love letter that never should have been "mailed."
I think I was the only one in my theater who chuckled at the Mannix opening credits, especially because I watched some episodes of it for the first time earlier this year.
And just earlier this week I received an old copy of the Screen World for the films of 1968, and have been leafing through it not even thinking that this was also the "...in Hollywood" era, so I gasped a couple of times seeing references to Candy and other '68 movies.
And I absolutely howled at how The Great Escape was...uhm...manipulated.
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The Matt Helm film looked as tired as ever, though.
I agree, but that Sharon Tate-Nancy Kwan fight scene! I only knew Kwan from musicals and romantic comedies before this. 
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Speaking of musicals, I was amused to see Nicholas Hammond (Friedrich from the Sound of Music) in this really chewing the scenery as director Sam Wanamaker. I think this is the hammiest I've ever seen Hammond. (pun not intended.)
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This movie could single-handedly make even the dreaded Baby Boomers question their 1960s acid-flashback memories and make even those go sour.
You seriously didn't like the songs? I'm listening to the album right now (love the recreation of listening to radio circa the late 60s) and I think this will be my perfect cruising-around disc.
Now...I just need to get a Ghia convertible...
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The Bernard Herrmann music that is tracked into the fictional Rick Dalton film "The 14 Fists of McCluskey" is "The Killing" from the rejected "Torn Curtain" score.
Ah, thank you. I was pretty sure it was from Torn Curtain but didn't have time last night to make certain.
Wasn't it " used" in CAPE FEAR remake?
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I wouldn't really consider the use of Jarre/Roy Bean as an anachronism, since it's played as end title score and not as source music.
I think some Torn Curtain music showed up later in the film as well, maybe in the Spahn Ranch section.
At the end, I think during the end credits, we hear a promotional tie-in commercial for the Batman TV series, and the music heard seemed to be from Thunderball.
I really really liked the movie, could usurp Kill Bill vol. as my favorite Tarantino, depending on how I feel after my next viewing or two.
(I saw it at Arclight, but I can only imagine the reaction at New Beverly screenings to the line about the "porno theater" down the street from El Coyote).
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Hey!
Songs or any music can only be " anachronistic" if they are used as source music.
Got it?
Have a nice day!
;
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I can't tell if you're agreeing with my point or refuting it [looking again I think you're agreeing] [sarcasm can be very hard to read on the Intertubes], but an end title score cue for a film (partly about the making of Westerns) set in 1969 that features Western music written for a film in 1972 seems about as petty a definition of "anachronistic" as one can imagine.
If the Torn Curtain rejected score was from 1972 instead of 1966, would its use as score music also be anachronistic?
(Just a pet peeve of mine -- I'm still annoyed that some considered the use of ragtime in The Sting "anachronistic" because ragtime pre-dates the period of The Sting. Which would mean any use of classical music in a contemporary film is anachronistic. I'm looking at you, Kramer vs. Kramer!) (and countless others)
A dear friend (who loved the film) felt that the beat-up state of Pitt's Kharman Ghia (sp?) in the film was distracting because the car was too recent a model to have received so much wear and tear by then, even with a stuntman driving it. Clearly each of us sees different things in any movie.
If we're going to start on deep-diving OUAT...IH, Timothy Olyphant is nearly 15 years older than James Stacy was when he did Lancer, and 6 years older than "older" guest star DiCaprio.
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And of course, QT's WWII set Inglourious Basterds begins with Dimitri Tiomkin's love theme for the 1960 film The Alamo (set in 1836). That's anachronistic coming AND going!
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The Tora! Tora! Tora! poster on the studio lot was one of the things that took me out of it. Just a weird detail that didn't even need to be there.
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The Tora! Tora! Tora! poster on the studio lot was one of the things that took me out of it. Just a weird detail that didn't even need to be there.
I noticed that too. Could it be that they had posters on the lot to advertise films in production, especially such a huge one as that? (given the granular level of design and period detail throughout the film, that would be an odd mistake to make).
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The Tora! Tora! Tora! poster on the studio lot was one of the things that took me out of it. Just a weird detail that didn't even need to be there.
And a February 1969 theatrical showing of The Wrecking Crew is preceded by a trailer for 1970's C.C. and Company. And Pacino jokes that DiCaprio will be appearing as a villain on Batman and The Man From UNCLE - both shows were canceled by '69. Little indulgences and licences on QT's part to be sure, but the world of 1968-70 remains fairly intact.
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And of course, QT's WWII set Inglourious Basterds begins with Dimitri Tiomkin's love theme for the 1960 film The Alamo (set in 1836). That's anachronistic coming AND going!
You've made the case like a film score Perry Mason!
Btw my pet peeve is " synths are anachronistic in a period piece. e.g. TITANIC.
Yeah, if the ship board orchestra featured a Moog, it would be.
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