The Sound of Music (1965): Island-Stranding Tunes

From: USA

Director: Robert Wise

Saw this again a few days ago while browsing the TV. Thought I’d just see a little bit to refresh my memory, but then not realizing, found myself watching it til the credits started. Couldn’t just stop the happy this movie brings. Tunes are unforgettable, scenes are dreamlike.

Dad said it best: If I ever get stuck in an island and just have one movie to bring with me, I’ll bring this. Makes it easier to survive.

 

Didn’t realize was writing without beginning prepositions.

 

What this film holds for me:

Who: Maria, how do you solve a problem like Maria? You don’t.

What: tunes that will make you sappy and happy

 

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Drive (2011)

From: USA

Director: Nicolas Winding Refn

Yesterday, I went to a Vinyl Day Celebration with my sister, whose current obsession is the long player. It was advertised as an outdoor event where vinyls will be sold at great discounts, local bands will play, freebies will be given out. Sounded great but to be honest, I’m not really into the whole vinyl-playing, band-watching, denim short-wearing crowd. No offense, it just isn’t me. I like my beats fast and my bass down low, just like what Dev and The Cataracs said in that song.

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But, I digress. While my sister was perusing the boxes of vinyls, I saw a stack of OSTs. Interesting to see that they had soundtrack records for both classic and newly-released movies. More interesting, I saw the OST for Drive. Now the last thing I want to do is to pretend to have the preferences that I don’t. I’ve seen the viral reviews for the score to this film, almost 87% of watchers keying in on how cool, ethereal, vintage, on-point, unique, atmospheric it is. All I could think of was, how come the first thing I noticed was the music and my reaction was not so positive? I guess it all boils down to preference. I’m not saying Cliff Martinez didn’t do a super-cool electronic-pop score. He did. It’s just me. I know it’s a brilliant score to a brilliant film, and I agree to the latter. It is a brilliant film. OST aside, I love this film. I love me some hammer-weilding, satin jacket wearing, mumbling anti-hero. I love fast cars, silent romances succeeded by violent encounters, and slow build-ups to emotional explosions. I particularly like head-smashing hammer scenes and elevator scenes that start in awkwardness and end with blood and brains all over. I love the tense atmosphere partnered with the nonchalant acting. The best thing though: OPEN ENDINGS. I love me some ambiguous finales. I’m a total sucker for that. So thank you Nicolas Winding Refn for always leaving us short.

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Jeffrey Overstreet of Filmwell said it just about right: If Sofia Coppola were a dude making genre action movies to impress Quentin Tarantino … those movies would be a lot like this.

Couldn’t have said it better.

So. I would ignore the rant on vinyls and scores, and just focus on the entirety of it.
What this film holds for me:
What: hammer never looked so dangerous; elevators never looked so terrifying
What: OPEN ENDING! 
How (I felt): tense and anticipating, but calm and collected
*Vinyl photos are from Satchmi’s Vinyl Day 2013.