Incredible Soundtrack #20: Space Jam (James Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Considering James Newton Howard composed the score, you would think that I would write about that but alas no. I'm going down nostalgia aisle and I reflect on one of my first soundtrack purchases: Space Jam.

I bought the ex-rental chunky-video-case from a little store in Broseley when I was roughly 14 years old. I hadn't seen it at the time but - wanting to be cool and hip - I knew I needed to know a film featuring Michael Jordan and Bugs Bunny. At the time, I Ioved the film and - as one of three videos I owned - I watched it many, many times. So much so, that the soundtrack became ingrained in my mind... and so I choose ...

3. Space Jam (Quad City DJ's) - Ridiculously enough, this was the song that I was most excited to listening to again. Happy, happy times.




4. I Believe I Can Fly (R.Kelly) - Unforgettable, and one of those songs that are copied time and time again on X-Factor and [insert crap pseudo-music competition here] shows. Shame that R.Kelly is a perv.



5. Hit 'Em High (Coolio/B-Real/Busta Rhymes/LL Cool J/Method Man) - Younger Bruv Graham loved this song. And played it too many times and, though he mocks me for knowing the whole of the first verse of Molella and the Outhere Brothers "If you Wanna Party" when I'm sure he knows the full lyric to this... Greeeetings Earthlings ....

Incredible Soundtrack #18: Collateral (Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

Now things get tricky. Though James Newton Howard composed the score to Collateral, from the soundtrack, I have not chosen a single track from the score itself. I am in no way saying how the score is flawed - far from it - but I do believe that the stand out tracks are not his.

In terms of 'setting the tone', Rothrocks additions add pace and adrenaline, whilst as Max (Jamie Foxx) flicks through the range of various radio stations we get excerpts from artists such as The Roots, Groove Armada and Calexico. Even Antonio Pinto, Bach and Paul Oakenfold make an appearance. Suffice to say, its a tough call when choosing which three tracks I will focus upon so - knowing that some tracks are good, I have tried to choose the tracks which best represent the film. (I will mention briefly how Paul Oakenfold's Ready Steady Go does not make an appearance, despite its fantastic use in 'the club' sequence, and it is due to fans of The Bourne Identity who would argue how we first heard the song as Matt Damon drove his mini through the streets of Paris way back in 2001 - a couple of years prior to Collateral)

1. Briefcase (Tom Rothrock) - A brilliant start to the film as, with one small exchange (Y'know Statham was originally going to play the role of 'Max'...) the equilibrium is disrupted and the lives of Vincent and max are changed forever. Pace, adrenaline and - at least for me - I was hooked...



8. Shadow on the Sun (Audioslave) - When Chris Cornell released You Know My Name I only knew him from this single track by Audioslave. It has a prominent use in the film as the parrallel between the wolves wandering LA is seen by Max and Vincent. The song continues as the two drive off further, but the recurring guitar motif continues to ring like an alarm bell - "Max, you need to do something..."




16. Requiem (Antonio Pinto) - I found a full version of this track and I would have used it had it not become so busy in the final section of the song. The version I found features on the soundtrack and slowly feeds the end of the film back to normality - though we have witnessed an unforgettable night for Max and Vincent, we also see the start of a new day. The workers beginning their daily routine and Max, hopefully, starting the day with a new outlook ...

Incredible Soundtrack #7: The Dark Knight (Zimmer/Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

As previously mentioned, James Newton Howard is one of may favourite composers and Hans Zimmer would come pretty high up if I was to mount a list. So a combination of both Hans Zimmer and James Newton Howard was going to inevitably perk my interest.

I think we can all agree that The Dark Knight and Batman Begins both have incredible soundtracks, but what is fascinating about The Dark Knight is the off-kilter, screwy 'Joker' element thrown in to the mix. The tracks I have chosen represent that additional element to some extent and show how it is possible that The Dark Knight soundtrack is superior in this single element. Having said that, I do not own the Batman Begins soundtrack so if you would counter-argue, please do so in the comments below.

Here we go - the chosen tracks ...

2. I'm Not A Hero - I think the first time I heard this track, track two, I knew I had made a worthy purchase. It often happens that you choose a soundtrack and find the one track which is good whilst the rest are not as strong. Not with this album. This track alone begins with such a plucked-pace that you cannot help but feel undercover and as if you are some sort of secret agent.



8. Like A Dog Chasing Cars - My favourite track on the album. The throbbing pace and pulsating percussion shortly after 1.08, whilst the strings continue the pace as if to introduce the theme. Flawless.



14. A Dark Knight - A whopping 16.15 in length this is deepply brooding and unsettling. The, almost tragic ending of The Dark Knight is acted out upon this section of soundtrack. Batman has seen his love, Rachel, die. Two-face - The White Knight - has destroyed himself and Batman must turn himself from a hero into the enemy for the sake of Gotham. The romance, tragedy and fear and path that this leads to ... is unknown. Until The Dark Knight Rises.

Incredible Soundtrack #4: The Village (Newton Howard)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals...

James Newton-Howard could be my favourite composer. I think his scores for countless films - from Collateral and The Dark Knight (with Hans Zimmer) through to his soundtracks with Shyamalan, specifically Unbreakable and Signs are definately incredible.

I have chosen his soundtrack for The Village because I do believe this score to be his best. Indeed the use of violin is prominent through the skill of Hilary Hahn. The music is sweeping and personal in equal measure and, where neccessary, it amps up the fear. The score balances the themes of the film perfectly - where on one hand, you have this traditional and peaceful society, but behind the curtain  lurks dark secrets and sinister demons...

Shockingly, The Village lost out to Finding Neverland for Best Original Score at the Academy Awards. Now, Finding Neverland ain't memorable. The soundtrack less memorable than the film.

My three tracks...

8. The Gravel Road - this track is a perfect example of that beautiful peaceful society very gradually turning more sinister.



9. Race to Resting Rock - this sweeping swell of chords features as the characters played by Brody and Dallas-Howard run down the hill. It really makes you ache for that same freedom - the freedom of space and fresh air, the freedom you felt as a child.



2. What Are You Asking Me? - A nice combination of all that is good about the score. The gentle violin repeating it's unbalanced riff whilst the orchestra swells in the background as if something is unsettling and is hidden beneath the surface.

Glengarry Glen Ross (James Foley, 1992)

"Your name is "you're wanting", and you can't play the man's game, you can't close them, and then tell your wife your troubles. 'Cause only one thing counts in this world: get them to sign on the line which is dotted."

Introduction

Screenplay written by David Mamet and based on his own play performed 8 years prior, this is a film that has always been known as one of the must-see-movies from Pacino's canon. I happened to see the stage play advertised countless times when I first started travelling to London - though never managed to watch it. The London production of the time had Jonathan Pryce, Aiden Gillen (Carcetti from The Wire) and Anthony Flanagan (Cop Tony, from Series 1 of Shameless) and was before The Old Vic' put on Mamet's other fantastic play Speed-The-Plow. A play I did see (Spacey and Goldblum ... incredible). Interesting because Jonathan Pryce was in this movie too - as more of a side character - while in the London adaptation he plays Jack Lemmons role, Shelley. More background? Alan Alda, Jeffrey Tambor (from Arrested Development) and Liev Schrieber (from Wolverine) starred in the Bradway 2005 version. Liev Schreiber and Aiden Gillen both played [in the movie] Pacino's role - Ricky Roma.

What I reckon ...

It is set over two acts and over two days. The first act is this moody evening while the second act is in the morning. The sales guys sit in a dull office and they are called together for a meeting with an external motivator - Blake, played by Alec Baldwin [a character not in the play]. He gives them an ultimatum - close deals, that night, or be fired. Only two of the group of real-estate agents will get the prized 'Glengarry' leads ... while everyone else will be fired. Amongst a range of characters, we have Shelley (Lemmon), an older man who has not had a great run of sales in recent months, while we also have Moss (Ed Harris) and George (Alan Arkin) trying to find a way to keep there job. Then we have cock-sure Ricky Roma (Pacino) who appears to be closing deals easily - a real pro. The statement of 'Close, or be fired' by Blake does make me think of The Apprentice ... do you think Alan Sugar and the BBC may have watched this film shortly before making the TV series?

Considering Blake is not in the play, it is incredible to see such a scene play out - Baldwin just insults and slams every agent in the room. explaining to them how sales work: "Always be closing, ABC" and "Attention - do I have your attention?", decision, interest, action. Funnily enough I worked in sales for a short while and these same tactics are employed - I'm pretty sure we even laughed about the similarities while being trained.

Whats incredible is the speed of the delivery - its non-stop. Every line is clear and succinct, showing caffeine-high employees working too hard to satisfy bosses who we never see. Each character has a motive and a plan to get money - reflecting this competetive attitude of masculitinity. Shelley, a character with few saving graces, seems out of his depth and he sinks exceptionally low to stay a man not lose his job. Masculinity and what it means to be a man is often a theme in Mamet's plays - and this is no exception.

Obviously the agents are the lead roles, but there are some subtle performaces by Spacey and Pryce on the side. Kevin Spacey plays Williamson, a character despised by the lower ranks. He has a complex outlook - holding the keys to the guys future. Williamson gives the leads to the agents to help them out - so this hatred stems from a frustration towards the power Williamson has over them. Pryce plays a minor role of James Lingk - he is easily manipulated and Ricky Roma mainpulates him for everything he is worth. Luckily, Lingk's wife intervenes and stops him from spending any money - but it is fascinating to see how the sharks simple eat him up with no thought to his family or future.

This is a great film - but it relies on the actors and the delivery, which is perfect in this case. To go against it, you have to consider how it translates as a film. It is still set in one room (pretty much) and is short ... so, you have to question whether its initial run on stage is how it is meant to be seen. Then again ... no Alec Baldwin character, Blake (seriously, find the single scene he is in that creates the tension many movies die for), making this a very unique version. But, as a stage play you wouldn't have the actors either. Ultimately, no Pacino.