THE ONLY NARRATIVE FILM I WILL EVER BLOG ABOUT

Ladies and gentleman, as the title suggests this weeks blog post is treading into uncharted territory were none of my blog posts have dared to go before, yes I am talking about....

Also if you haven't seen the trailer yet, I am going to post it below this and then proceed to tell you why I am particularly excited for this film by using both examples from the soundtrack and visual that director, Mr. Rob Marshall has created. 

Below is the trailer....

 

This trailer is a prime example of the reason why I am so excited for this movie. If you study the visual style that Mr. Marshall employs throughout the film, it is meticulously and delicately articulate in such a way that might draw to comparisons to such masters of the visual world of film like Baz Lurhmann. Also, Mr. Marshall does something amazing as demonstrated in the clip below. I'll let you watch the clip before I tell you what it is.  

As you can see in the clip, Mr. Marshall is keenly aware that the action is stopped by Cinderella's song and that the song is functioning as an internal dialogue between what the character wants for herself. So what does Mr. Marshall do, he completely freezes the action around Cinderella in order to allow us to begin to get inside of what the character is thinking or feeling, something that the medium of film often eschews. It is this kind of genius thinking that has me hoping that this stage to screen adaption will be successful.  

Also, the soundtrack of the film is another appealing aspect of the movie. Above is the full version of On the Steps of the Palace as sung by the Anna Kendrick. The music and lyrics and film scoring are handled by one of arguably the most talented and beautiful composer for musical theatre Stephen Sondheim. And yet, even though not on the stage but rather the screen, the music still soars high, a true gem of any Sondheim musical if ever there was one. 

Because Mr. Marshall has adapted Chicago from the stage to the screen and done it very successfully I am beyond excited to see what he is going to do with Into the Woods. 

And so it is for these reasons that I say: INTO THE WOODS AND OUT OF THE WOODS AND HAPPY EVER AFTER!!!! 

THE POWER OF A SOUNDTRACK (A DEFENSE OF BAZ LUHRMANN'S GATSBY)

In movies one of the most undeniable features is the sound track of a movie. Done correctly, the soundtrack can help the viewer situate themselves within the world of the film and allow them to become fully immersed into the experience of watching the movie. On a much more commercial level, the soundtrack of the movie can be sold on various platforms such as iTunes, Amazon, and in record stores. This leads to an additional sources of income for the movie which is why it becomes important to pick popular music and artists to appear on it. On this weeks blog post I want to discuss one film that employs this strategy of packing a soundtrack full of well-know artists is....

THE GREAT GATSBY

BY BAZ LUHRMANN

While some thought the film lacked in certain departments, namely storytelling, I want to take this opportunity to defend the film for it's innovative use of music and soundtrack to cultivate a fresh take on the fatal attraction between Gatsby and his long lost love as well as to highlight and underscore the decadent decay of the 1920's society that surrounded them.

THE SOUNDTRACK AND VOICES OF GATSBY

The Great Gatsby: Music from Baz Luhrmann's Film was released on May 6, 2013 on Interscope Records and was produced by Luhrmann and Anton Monsted with Jay-Z heading the project as executive producer. Upon the albums release it immediately polarized critics and critical opinion as some saw the album as a genius retelling of Gatsby for modern audiences while others saw the album as a horrible atrocity that failed to accurately portray 1920's sensibility through its use of hip-hop and pop tracks. While I understand that the styles of hip-hop and pop did not exist in the 1920's I think that further critical, track-by-track examination of the soundtrack will help to elucidate the true genius, research, and finesse that went into making this soundtrack.

TRACK ONE "100$ BILL (PERFORMED BY JAY-Z)"

This track contains a chopped and screwed beat, electro-rap elements and it is written from the perspective of a modern day Gatsby. It begins with a speech by Leonardo DiCaprio, while throughout the song Jay-Z is backed by samples of a children's choir and a '20s jazz horn sample. In the song, he raps about being remembered and the "pitfalls" of wealth as well as comparing rich people from the 1920s and the 21st century.

TRACK TWO "BACK TO BLACK (PERFORMED BY BEYONCE AND ANDRE 3000)"

This song is a slower version than the original, written by Mark Ronson and Amy Winehouse, with chopped-and-screwed elements, a dark and haunting sound and instrumentally complete by a guitar, moody synth and electro bleeps.

TRACK THREE "BANG BANG (PERFORMED BY WILL.I.AM; ADDITIONAL VOCALS BY SHELBY SPALIONE)"

This song contains a sample of the jazz composition Charleston (1923) and features Louis Armstrong-inspired vocals along with hiNRG, EDM and electropop elements. It contains elements of hip-hop and 1920s-style dance music as well as a use of ukulele.

TRACK FOUR "A LITTLE PARTY NEVER KILLED NOBODY (ALL WE GOT)[PERFORMED BY FERGIE AND GOONROCK]"

This song is a swing, hip-hop and dubstep song

TRACK FIVE "YOUNG AND BEAUTIFUL (PERFORMED BY LANA DEL REY)"

This song was written by Del Rey and Rick Nowels. Musically, it is a lush ballad which contains Del Rey's sweeping vocals accompanied by dreamy strings and canned percussion. Lyrically, the song is written from the perspective of Daisy Buchanan, Gatsby's lover, and it talks about being forever young, going to parties and nostalgia in the vulnerable lyrics "Will you still love me when I'm no longer young and beautiful?"

TRACK SIX "LOVE IS A DRUG (PERFORMED BY BRYAN FERRY AND THE BRYAN FERRY ORCHESTRA)"

This song originally appeared on Roxy Music's 1975 album Siren; the song was written by band members Ferry and Andy Mackay. It contains jazz elements trumpet wails and skittering drums as well as honky-tonk, bass sax, sleazy strings and "oohs".

TRACK SEVEN "OVER THE LOVE (PERFORMED BY FLORENCE + MACHINE)"

This songs is written from the perspective of Daisy Buchanan. It contains references of the yellow dress worn by her and the green light that hovers outside her home on the dock in East Egg which were inspired by the novel. Instrumentally, it is complete with a light piano and Welch's vocals which use melisma.

TRACK EIGHT "WHERE THE WIND BLOWS (PERFORMED BY COCO O. OF QUADRON)"

This song contains soul vocals performed by Coco O. and contains an old-time piano sampling with whirring drum 'n bass circular beat and jazzy keys. Osenlund of Slant Magazine commented that the instrumentals of the song are similar to a Cole Porter classic, but the vocals to Jennifer Hudson's, while Jim Farber ofDaily News noted that she sings with doll vocals of Betty Boop.

TRACK NINE "CRAZY IN LOVE (PERFORMED BY EMELI SANDRE AND THE BRYAN FERRY ORCHESTRA)" 

This song is a swing and soul mash-up.

TRACK TEN "TOGETHER (PERFORMED BY XX)"

This song contains skeletal electro-pop elements and a slow atmosphere. It contains dark and insistent backing, metronomic beat and breathy, deep vocals which climax with an orchestral swell.

TRACK ELEVEN "HEARTS A MESS (PERFORMED BY GOTYE)"

This song is a neo-lounge ballad with clunking, treated backbone.

TRACK TWELVE "LOVE IS BLINDNESS (PERFORMED BY JACK WHITE)"

The rock-hip-hop version on the album contains drum beats, "piercing yelps...and a gut-poking bass line".

TRACK THIRTEEN "INTO THE PAST (PERFORMED BY NERO)"

This song is a slow-tempo song performed by Nero and contains dubstep elements and strings.

TRACK FOURTEEN "KILL AND RUN (PERFORMED BY SIA)"

This song which contains electronica elements and is performed by Sia

CONCLUSION

So as you can clearly see from the track by track break down of all of these songs there is an eclectic mix of styles, genres, and periods represented in the soundtrack. This shows a tremendous amount of planning, research and execution because Baz Luhrmann truly understood the history of music that occurred in New York City at the time. There was jazz, swing, lindy hop, bee bop, and many other styles of music that all blended together to become the modern hip hop and pop traditions that are known today. I commend Mr. Lurhmann for respecting history enough to fully research that history and then take the base concept and make it contemporary for an audience to enjoy.

Ready for Summer!

After filming The Goods again, screwing it up by accident and only having one film to screen- I'm ready to relax and watch someone else's projects this summer.

Iron Man 3 just came out and I was lucky enough to see it the night before. It was amazing and a great ending to the trilogy. During the previews, there were a bunch of trailers for films coming out this summer and fall. And I've got to say, I'm super pumped for almost all of them!

Wolverine will be coming back to the silver screen to continue his origin story. Being a Marvel nerd, this makes me super excited for him being in Japan. It's a key point in his story and it also helps that I love Hugh Jackman...

The Great Gatsby is only a week away from premier! Like a lot of people, The Great Gatsby is one of my favorite books. The cast is phenomenal and the director is fantastic. He's directed so many beautiful films such as Moulin Rouge and Romeo + Juliet. Baz Luhrmann was a great choice to director this movie.

Star Trek is also creeping up this month and I can't wait to go to the midnight premier! Yes, I do have an Enterprise shirt that I'm planning on wearing to the screening and yes I'm a bit more excited to see this one than the previous film because Benedict Cumberbatch, Chris Pine and Zachary Quinto are beautiful men.

Good luck to everyone at the screenings and have a great summer!