SIDE A

1. Boogie Nights – Jesse’s Girl – Excellent because Alfred Molina begins by discussing mixtapes It’s also good because the entire song is played, which often doesn’t happen thanks to editing. This is my favorite scene in that entire film. Molina is one of my top three actors and his cracked out performance in a bathrobe makes the film. 

2. The Big Lebowski – Just Dropped In (To See What Condition My Condition Is In) – A fantastic dream sequence that really ties the film together.

 3. Rushmore– A Quick One While He’s Away – This performance by The Who is from the amazing bizarre Rock and Roll Circus (worth seeing just for George Harrison’s introduction “And now ladies and gentlemen…dig The Who.). The fact that it’s live really makes a difference, the CD soundtrack is the original record which, though wonderful, lacks passion. Here, Roger Daltry is pumped as he belts “forgivenforgivenforgivenforgiven!” and adds to the ironic vengeful nature occurring in the film. The music bows out for a few seconds while Harold Bloom (Bill Murray) reports Max Fisher (Jason Schwartzman) to the police, and then makes a rousing return as Max is carried out of school by two officers.

4. Shaun of the Dead– Don’t Stop Me Now- Word to the wise, ZOMBIES HATE QUEEN. So when the jukebox in Shaun’s (Simon Pegg) safe haven pub starts up with this super positive song, he and his friends must act quickly to keep the elderly owner zombie down. Worth it for the choreographed on tempo pool cure strikes.

5. Moulin Rouge – Roxanne – I know my masculinity is compromised by saying I like this film, but at least this is one of the less flamboyant songs. The tango version of the Police manages to come off classier than, say, Jim Broadbent singing “Like A Virgin.”

6. Reservoir Dogs– Little Green Bag – An excellent introduction by comedian Steven Wright enhances this opening credits song even more. I know some of you might think “Stuck In The Middle With You” would be a better choice, but there is that point where Mr. Blonde (Michael Madsen) leaves the room to get the gasoline. Sometimes it’s better to go with a less obvious choice.

7. Manhattan –Rhapsody In Blue – Though we lose out by not being able to see the beautiful cinematography of Allen’s 1979 film, we gain by being able to hear his dialogue. Having dialogue on the mixtape separates it from being just a taping of CD soundtracks (Which I also do a lot, but if this works out well, I may end up selling my soundtracks….except for Grease on vinyl)

8. Lost in Translation – What’s So Funny About Peace Love and Understanding? –I haven’t watched this film in a while, but the karaoke scene is memorable. And I think Bill Murray’s choice to play quieter roles in the past decade makes him able to do things that other SNL cast members can’t do. Imagine Chevy Chase covering Elvis Costello…then clean up that vomit.

9. Rock n Roll High School –Do You Wanna Dance – In Clint Howard’s greatest film of all time, the Ramones take over the halls of a high school and they never sound as joyous than in this penultimate tune.

10. The Royal Tenenbaums– She Smiled Sweetly – A more obscure Rolling Stones song  pops up at my favorite point of this film. A lot of his critics describes Wes Anderson’s directing as detached and unemotional, but I really find this scene to be both beautifully sweet and heartbreaking. It is followed by the equally charming Ruby Tuesday, and neither are on the film’s soundtrack…alas.

11. 24 Hour Party People– Digital – Craig Graziano’s pick for the best rock movie of the past ten years, with Steve Coogan playing music fan Tony Wilson in a hilariously more elite than thou way. I hope we start to see more of him in America. The first hour really shines chronicling the rise and fall of Joy Division.

12. Goodfellas – Layla – I’m considering going back and rerecording Side A for quality reasons, and when I do, I’ll probably change this to the song “And Then He Kissed Me.” Even without the epic tracking shot, it’s just worth it to hear Karen (Lorraine Bracco) ask Henry Hill (Ray Liotta) “What do you do?” after getting the best seats in the house.

13. Adaptation –So Happy Together – Number one with a bullet! Charlie Kaufman composes a self reflexive masterpiece in this film about himself (Nicholas Cage). After the screenwriter attends a script doctor’s seminar, the film becomes a fast paced mix of sex, drugs, violence and this hit Turtles song.

14. Bottle Rocket – This is the Story – As you can see, I have a thing for Wes Anderson soundtracks, but the reason is that he and writing partner Owen Wilson really do think about what songs to use in their scenes, creating mixtapes so they can construct the dialogue with the appropriate background music. This Proclaimers song gave me goosebumps the first time I heard it.

15. Trainspotting– Lust For Life – This may be the only time the dialogue surpasses the song on this tape, but Ewan Macgregor’s rally against choosing life dominates over Iggy Pop sneer. Next time Iggy.

16. Fight Club –Where Is My Mind – As Dr. Campbell said in class “Oh look, the phallic symbols are crashing to the ground.” And maybe using this song in a film about psychological deviance is laying it on a bit thick. But to be honest, it simply is an amazing song by the Pixies and the first one I had heard by them, adding to the personal significance. Lead singer Frank Black is certainly a film buff. The opening track on the album Doolittle is all about Un Chien Andalou by Luis Bunuel. “Slicin’ up eyeballs whoa ah ho ho!”

SIDE B

1. North By Northwest-Opening theme – Bernard Herrmann is a genius, we’ve already discussed it. I once put this on a mixtape that didn’t even have anything to do with film, cuz it’s just that good.

2. Blue Velvet –In Dreams – Psychopath Frank Booth (Dennis Hopper) pulls over to the side of the road, screams at idiot boy (Kyle MacLachlan), then proceeds to play the song and slowly repeat the lyrics “In dreams….I walk with you….In dreams….I talk to you…In dreams your mine…all the time….forever….in dreams.” Talk about a possessive nature.

3. Bound – She’s A Lady – So Tom Jones is funny, the final line of dialogue is funny, and the Wachowski brothers (pre-Matrix) do a marvelous job appropriating a somewhat creepy “female worship through male eyes” and turning it into a feminine anthem.

4. A Clockwork Orange– Beethoven’s 9th Symphony and The William Tell Overture – Alex (Malcolm McDowell) loves Beethoven in a way that current delinquent youths just don’t appreciate. Keep your ears open, because when the 14 year old punks start humming old Ludwig Van and and crooning Gene Kelly….a hard rain’s gonna fall.

5. Citizen Kane –Charlie Kane’s Celebration Song – Before it all goes sour for Orson Welles  tragic protagonist, he gets a chance to sing and dance with a bunch of lovely ladies to his very own personal theme song! This scene is spoofed wonderfully in one of my favorite Simpsons episodes “He’s Monty Burns! I’m MISTER Burns!”

6. The Life Aquatic With Steve Zissou – Ping Island/Lightning Strike Rescue Op – My final piece from a Wes Anderson film is from his resident score composer Mark Mothersbaugh. The ex-Devo frontman uses a variety of instruments, he’s very orchestral for The Royal Tenenbaums and here he employs electronic synthesizers which swell into a many brass instruments. But to some, he’ll always be known for the theme to Nickelodeon cartoon Rugrats.

7. Jackie Brown– The Lions And The Cucumber – Ordell (Samuel L. Jackson) embodies badassity in this film, and when he finally finds out what’s up, he calls bail bondsman Max Cherry (Robert Forster) who is in on the scam that left him cold. Trumpets blaze as Ordell quietly but profanely sets his terms for the final showdown.

8. Chunking Express – Dreams – The obvious choice would have been California Dreamin’ since it’s played so often, but this Cantonese cover of the Cranberries is near exact to the original and is sweet, which of course means that Wong Kar Wai is screwing with you. He’s the new Godard! The song itself is sung by the female protagonist.

9.  Magnolia –Wise Up – Aimee Mann’s music was a huge inspiration for PT Anderson’s three hour attempt to get over his own personal issues. Some people balk at the concept of all the characters singing the lyrics along with her, but it’s a boldly inventive move to others.

10. Nightmare Before Christmas– What’s This? – How could I leave out Danny Elfman? I mean, he’s even singing! This track, along with his magnum opus (The Beetlejuice Theme) get featured in any movie that even attempts to portray a facade of magical realism. It’s a good transition from the melancholy Aimee Mann.

11. Duck Soup– To War! – Not a lot of people know that many early Marx Brothers films had musical interludes, and this one beats them all, with a troop of soldiers being used as a giant xylophone and an hoedown interlude. Woody Allen’s monologue concerning this scene at the end of Hannah and Her Sisters really sets it as an immortal piece though. Life goes around once, why don’t you make the most of it?

12. Amadeus –The Magic Flute – So Mozart composed his most playful opera at the same time as his most emotionally devastating Requiem. Papageno’s song is spritely despite the fact that Mr. Mozart is only hours away from death. An anarchic film for music lovers everywhere.

13. Modern Times –The Tramp’s Nonsense Song – At the very end of this 1936 film, the  Little Tramp starts with a dance, opens his mouth, and low and behold, sound comes out, even if it is Italian-sounding gibberish. This is his grand exit, for Chaplin never made another film as the Tramp. His dance really makes the song, as he pantomimes the narrative of the tune, but then again, pantomime was always his strong point wasn’t it?

14. Dr. Strangelove –We’ll Meet Again – I almost totally forgot about this song being featured in Kubrick’s film, but when I remembered, I knew that I had the perfect closing. Introduced by Peter Seller’s eternally bizarre line “Mein Fuhrer…I can walk!” For an excellent cover of this song, check out Johnny Cash’s American IV record. It’s the last song that was released before his death…and a beautiful way to close.

So there. I spent a good 7 hours of my week on the tape and this blog post, but maybe you’ll be inspired to check out some of these films or come back to them and remember how good they are, or even make your own Movie Mix Tape…well maybe you’re not that crazy, you probably like your iPod just fine.

I first heard a Glass composition in the deeply hypnotic documentary Koyaanisqatsi. In that film, the music often matches all sorts of movement, both with the camera and with the subjects in front of the camera. Such a synchronized match can lull one into a daze. I have caught this film before while flipping channels and almost been late for class because of lost track of time.

It’s no surprise that later filmmakers implemented his rhythmic movements in ways similar to Morris. Examining most of his film work shows a majority of films where the search for truth is a large factor: The Truman Show (which he did not write specifically for but his work was used in), Secret Window, The Illusionist, and Candyman. I’m extremely excited that his next project will be Woody Allen’s latest drama Cassandra’s Dream. Cassandra? How can that not be about finding out truth? Who knows? Cassandra does. 

The way the 20th century operated in terms of technology and how ideas are exchanged is quickly falling behind us. Just the other day a friend of mine was dropping off her old computer at a friends house. As I took a glance at it I said “Wow, that’s practically an antique.” It was from 2003, had a huge heavy monitor, and in a scant four years already is a vintage item.

Once again I find myself relating to the characters of Vernon, Florida. With this surging growth in online media representation, what is reality anymore? The very fact that these obscure people Morris interviewed now have hundreds of posts and observations about things they did 27 years ago….excuse me while my head explodes. Maybe I should try and be like them. I’ll sit around and wait while everyone else gets the latest media upgrades, new wifipods and the ability to have a three way conversation about going to the park on a sunny day. (That was the upbeat ending of EPIC 2015!? We’ve come soooo far.) Therefore, in a few years I’ll be in the middle of my own figurative swamp and I’ll be saying “You can’t trust the wiki. Everyone thinks the wiki has all the facts, but it don’t. I know, I just wiki’d it.”

Dad: The paper said (insert movie title here) was (insert judgement: good/bad/delicious/etc.)

Me: Who wrote the review?

Dad: I don’t know.

And that’s about the point where I drop out of the conversation. because taking advice from an unknown random critic is very different than finding a critic who matches your sensibility and taste. Your local newspaper reviewer is not infallible.* Critic’s reviews aren’t the enemy, they’re a tool. When I’m thinking of seeing something I usually read Roger Ebert’s review (Even when I don’t agree with him I often understand an respect the points he makes, and his dry sense of humor really clicks with me. I also check out the fanboysite Joblo.com to see what they say about it, and if I feel like being challenged I’ll check out a David Denby or Anthony Lane review (but I often find their reviews to be contrarian for the sake of prolonging their elite status).

I have a friend that watches everything that comes to the theatres, and when talking to him about his latest venture to see something like Epic Movie, I look at him and say “Why waste your free time on that?” This is especially frustrating when he complains about how much he hated something that was obviously rushed through production to make a quick buck. What did he expect? So I guess I side with Dr. Campbell. Life is too short to be watching uninteresting movies, especially when there are so many older gems that remain undiscovered by the majority. A little guidance from someone that has your same taste can be a blessing.

*Speaking of infallible reviewers, I once read somewhere that Pope John Paul II’s favorite film was Strictly Ballroom. Divine!

I did not mean to come across it I assure you. Who wants to be enslaved, forced into a servitude for a much more powerful being? No, it could only have been fate that interfered. The second I saw the cover I began flipping through, making my first count, knowing that I had a visual pilgrimage ahead of me that would last years, maybe even decades. I am now at it’s command, fraught with feelings of inadequacy until I reach the ultimate goal. But there is was.

Sure I had seen Janet Leigh before, but that title! Starting with Voyage To The Moon ending with Chicago, the book truly was a thing of beauty. It had it all avant garde masterpieces by Bunuel, crowd pleasing blockbusters such as Independence Day. All in chronological order, from the 1890’s to 2002. Kubrick and Hitchcock, Lang and Fellini. ONE THOUSAND AND ONE MOVIES I MUST SEE BEFORE I DIE?! Well I better get to it. My first count in Steven Jay Schneider’s masterful book was 180 films, a paltry sum indeed. On that first count I had only reached 20 by the time I got to It’s a Wonderful Life. My experience with silent films was especially lacking. It was unacceptable and I needed to get going. Over the past two and a half years I have been on this journey, making great strides in cinematic knowledge. I used to dog my friends into flipping through and getting their counts tallied, always interested in what different people had scene. I was fascinated to know one girl who had seen and loved A Clockwork Orange. Based on my previous talks with her I never would have expected that. My high school drama teacher and film mentor Mr. Gelzer was more than happy to count through it with me seeing 548 of them and explaining which he loved and which he could not stand. The book is certainly simply a guide, recommending certain titles, and with such a high number, its interesting to see what makes the cut.

Presently my count is 416 of the titles, along with a being more well versed with Chaplin, Godard, Altman and many others. Even though the spine is broken on my copy, I imagine I’ll be carrying it around for a long time.The publishers of the book have two very clever offshoots to their original: 1001 Books(my count was painfully low), and 1001 Albums(where I fared much better). They also updated the movie book to 2004, of which I have seen all the new additions except for Passion Of The Christ. As time passes and I watch film after film, it’s getting more frustrating to both find the more obscure ones. It’s easy to rent Shaft or to Tivo Prizzi’s Honor (undeserving of making the 1001 cut by the way) but much harder to come across the 1915 serial Les Vampires. 

The other drawback is the one that plagues Salieri in Milos Forman’s Amadeus (definitely deserves its place in the book). It’s that feeling that no matter how hard you’re trying. There are people out there who are doing better than you. They don’t even seem like they’re trying and you wonder, “Are they being as perceptive a filmgoer as I? Do they really get what’s being conveyed?” 

Also, I have recently come across two blogs based on the films: This guy focuses on about two movies a week in the book, doing his own research and reviewing. Another site has less research done, but the couple who blogs (and seem to have never seen a movie beforehand since they both have only about 80 counted) just give each film a score from one to five.  I feel quite conflicted with these two blogs, since they’re judging their evaluations on the editors’ own evaluations. Its what they think of someone elses list, rather a list of what they feel are the most important movies. Furthermore, the book itself does not rate any of the films in order, it’s merely a chronological list. As Ebert says, the ratings are meaningless anyways. The first blogger even recommends that you catch some of the films on youtube. This does not pertain to just the five minute avant garde films either, things like My Man Godfrey, which might possibly benefit from an actual cinematic experience rather than a 4 inch or even 12 inch screen. Perhaps it’s more Salieri-like envy.

This is probably because I am hoping for criticism (film/music/literature/television) as a viable career. I’ve been writing  reviews since 10th grade and in both the world of academics and criticism there is a huge urge to not only have everything catalogued in your brain, ready to be pulled out and displayed to prove your validity amongst your peers, but also to keep up with the current trends so you can be culturally relevant. I can’t help but consider it a competition with these other people, regardless of whether they know I’m there or not.

I do not think this book is the be all end all. It’s a great concept. It’s a trying concept. There are a few things that I cannot believe were omitted (The Coen’s Blood Simple, Disney’s Beauty and the Beast, and Louis Malle’s My Dinner With Andre are my 3 big issues) And I’ll probably never manage to get through the nine John Ford movies featured. What such books do is make the aquisition and cataloguing of a decent cinematic education so much easier. Sure, it’s a rat race, I’ll probably always consider it a rat race, but at least it’s a rat race where I get to do something that I love, watching and writing. I’m tired now.

 I had missed the point. After Rudolph Valentino’s adrogynous appeal took the nation by storm, Hollywood presented a new sort of hero, one that could simultaenously be masculine and feminine, attracting both sexes. This tradition has definitely continued throughout the twentieth century mainstream culture, and without much uproar from gender role traditionalists. James Dean, Marlon Brando, Elvis Presely, David Bowie and Mick Jagger all manage to be both pretty and manly. The attraction here is sexual for both male audiences and female.

I think the most notable Feminine Male of today is Brando’s protege Johnny Depp. Audiences were delighted and won over with Depp’s portrayal of Jack Sparrow in Pirates Of The Carribean. If Sparrow is not bisexual, he is just a tease for Orlando Bloom. And one can see a connection in those action movies we viewed in class Four Horsemen Of The Apocalypse and Son of the Sheik with a rip roaring adventure on the high seas. The hero is able to show his dainty side, but can also throw a punch to balance it out. As for Chaplin, he’s not exactly an action star, but breaking past gender roles often gets a laugh…except for you Mel Gibson. What Women Want? Give me a break.

But this is not always the case. Sometimes it is the film that makes the larger impact, allowing a mediocre or pulp novel plot to saturate the mainstream culture, and be remembered long after. Here are some of the films that come to mind.

Dr. Strangelove (1964): Kubrick often manages to irk the authors of his source material. Whether it’s Stephen King’s complete dissatisfaction with The Shining, Anthony Burgess’ critique that the last chapter was cut out of A Clockwork Orange, or Arthur C. Clarke having to spend the rest of his life answering the question “What the hell was 2001: A Space Odyssey about anyways?” Despite those complaints, at least those three didn’t end up like Peter George, whose serious Cold War suspense novel Red Alert was turned into a gigantic satirical jab at the government, the military, and scientific innovation. George was upset that his hard work was being played for laughs, but as time has passed, the first dark comedy has only grown more popular, since it’s still able to poke the same institutions in the eye in a way similar to The Daily Show. A novel with the same plot as George’s (so much the same that George sued the writers) was adapted into the film Fail-Safe in the same year. Two years later, George killed himself, forever incapable of appreciating how he made his mark on the twentieth century.

The Godfather (1972): Mario Puzo wrote his 1969 book as a pulp novel, mainly just trying to relate some mafia anecdotes he had learned while a journalist. Paramount Pictures, under the rule of boy wonder Robert Evans, picked up the film rights. Though Francis Ford Coppola directed, he was definitely not in control. Evans took a kind of hands on role that hadn’t been seen in

Hollywood since the golden age of the studio system, and Coppola was in constant fear that he and Marlon Brando, who he picked as the lead, would be fired. Ultimately, it was a win-win-win-win situation for all three men. Puzo never had to worry about being published again. Evans was able to prove that he wasn’t too young to head a studio. Lastly Coppola and Brando would have shakey, but redeemable futures in film with high highs and even lower lows. But the Godfather has penetrated our culture in a way that the book never could, introducing us to Al Pacino, Diane Keaton, John Cazale, and James Caan. Furthermore, The Godfather: Part II, is one of only a handful of sequels that greatly improves upon its predecessor (The Empire Strikes Back may be the only other). What significance this bears is that the film has become much greater than a work of art or mere entertainment. It is forged into our minds.

Blade Runner (1982): This may be unfair, because I for one hate reading Philip K. Dick. It’s more or less an issue with his writing style. He goes out of his way to distract the reader with strange juxtapositions. Ridley Scott’s adaptation of Do Androids Dream Of Electric Sheep? is a beautiful representation of a very dence text. Few people can make a noirish sci-fi masterpiece, but Scott manages to turn any genre into a real winner. The real surprise comes in Harrison Ford, who manages to really act in this one, rather than opting for sarcasm and rugged good looks. To date, it is Ford’s only film I’ve watched where I forgot halfway through that he was in it, and he’s the main character. If I were to name another science fiction movie that doesn’t completely rely on action and is more focused with identity….well I’d have to go back to Kubrick with 2001…wouldn’t I now?

Books are good. Films are good. Both can be equally challenging or shallow, it’s just people’s perceptions that have to change.

Watching the montage of Foreign Film honors reminded me of the importance of this art and refreshed me. Thinking back to the first time I saw Z, Rashomon, Nights Of Cabiria, Cinema Paradiso (If there is any film that expresses its love for cinematic art and the lives that revolve around it, it’s this one) I realized what an affirmation I was experiencing in this simple montage. My time was not wasted. During the hours I spent viewing film after film, laughter and tears alike, these were not false emotions that I experienced. I do not watch the Oscars solely to see what will be recognized as the best movie of the year. There is no objective way to do such a thing, what is important is the collage of film history that is thrown together in one room for one night, and if you do your homework you can feel like you’re in the know. You can be closer to the experience than Jack Nicholson sitting front and center with a creepy grin on his face.

Out of the Past: I watched this after Dr. Campbell’s recommendation during the Noir discussion. Robert Mitchum is one of those great actors that never had the adoration that Gregory Peck or Jimmy Stewart (In fact, Mitchum’s death on July 1, 1997 was greatly overshadowed by Stewart’s passing the following day). His role as an ex-private eye who became tangled up with a mobster might not reach the bravado of Night of the Hunter (my personal favorite), but his acting was certainly competent in a film that employs all Noir calling cards. Dark shadows, double crossings, and one deadly dame. Interesting that the quintessential Noir flick starts and ends in a small backwater town. It certainly doesn’t stay there though. The scenes in Mexico reminded me greatly of something out of Casablanca and San Francisco supplied the big city badness. Since it was my first viewing I surely missed a lot, but I hope to watch it a few more times, especially with the commentary by Noir expert James Ursini.

Star Wars: A New Hope: The second I turned on the TV this morning, those rolling credits started and I was hooked. I haven’t watched the A New Hope sine Episode III came out when I had to remind myself again why I had been so crazy about this trilogy for a decade of my life. Of course it holds up, taking heavily from genre films like Westerns, Flash Gordon Serials and WW II Fighter Plane movies….not to mention the obvious influence of Kurosawa’s films. The Jedi simply couldn’t exist without the the cinematic portrayal of Samauri.

Shane: The first time I saw this was for Dr. Kemp’s 245 class, and to be honest, I didn’t make the connection that Alan Ladd played the title role in what is probably the most important pre-1960’s Western (High Noon might be a nose ahead). This role really captures a broader acting ability much more than Ed Beaumont. Sure he gets roughed up, but we finally get to witness him throwing a few punches of his own. Ladd has this beautiful ability to peer out of the corner of his eyes in both films, he rarely turns his head when he sees something of interest. It was certainly more subtle in Shane than The Glass Key. Likewise Shane has connections to Yojimbo. I took special note at how feminine Jack Palance appeared (much like Unosuke). But while Unosuke’s gun weilding threatens Sanjuro’s feudal role and must be stopped to preserve his purpose, Shane actually is bringing about his own end by letting the homesteaders keep their land. This allows the West to become a tamed sanctuary for settlers, which neither Shane nor Palance’s Wilson can really exist in.

It’s late now, and I probably sound nuts. I hope Dr. Campbell got to read some of Sex, Drugs, and Cocoa Puffs. Everyone should have a copy of that book.