OK, I’ve been a little depressing tonight with my media selections, so I’m ending on a happier note. In this case, it’s the Ramones’ “Chasing the Night” from their kick-ass 1984 album “Too Tough to Die.”
“Chasing the Night” was always my favorite “I”m going out tonight to have a great f–king time” song and this is a great live performance from the UK’s “Old Grey Whistle Test” TV program. Good night, folks!
The first track off Harvey’s brilliant debut LP from 1992 “Dry,” “Oh My Lover” is the least sexy and most depressing “open” relationship song ever recorded. There’s nothing “liberating” here. It’s the anguished cry of a person who’s so desperate to hang on to the person they’re with, they’re willing to do something that breaks their heart to have some remnant of connection with that person.
I don’t think Harvey is passing judgment here and I don’t think she’s advocating the position of the protagonist of this song. It’s just the painful portrait of someone whose only sense of self is tied up inextricably with someone who is all but willing to exploit the protagonist’s weakness. Devastating stuff.
Korn’s Jonathan Davis does a pretty cool and transcendent cover of Neil Diamond’s “Love on the Rocks,” recorded for the “Wonderland” soundtrack in 2003. I call it transcendent because Davis sounds like he’s taking the lyrics VERY seriously and treating them with all the gravity and desperation they allude to.
I’ve talked about “Wonderland” before on Dave’s Strange World and it’s the James Cox-directed docudrama about the infamous Wonderland Murders of 1981, which involved down-on-his-luck porn star John Holmes. Imagine the “Sister Christian/Jessie’s Girl” sequence from “Boogie Nights” expanded to feature length and that will give you an idea of what an unremittingly intense experience “Wonderland” is.
The accompanying video is a montage of scenes from “Wonderland” set to the this Davis cover. Not safe for work.
For those who may not remember this exploitation landmark, “Faces of Death” is less a documentary than a compilation of authentic news footage too grisly for broadcast and reenacted (and faked) scenes of death and mayhem. The film didn’t make much of an impact in the United States until it was released on video during the mid-1980s. Due to its then wide release, it was the subject of news stories, editorials, and the kind of hysterical overreaction normally associated with so-called “moral panics.” To judge whether this film is “good” or “bad” is futile. It’s a freak show. And a freak show’s ultimate success is not based on your judgment, but whether or not the producers got your attention, and ultimately, your money.
Being a teenager and a film fanatic at the time of its stateside video debut (especially of “controversial” films), I was anxious to see it and finally did, when a friend of my brother’s rented the video. The film did everything it was intended to do: it shocked me, appalled me, and grossed me out. It especially helped that I was too dim to see that the film’s grisliest scenes were faked. Given the fact that I was on a speech team at school at the time the film was gaining notoriety, I saw an opportunity to use my viewing of the film as the subject of an indignant diatribe against sadistic violence in film that I hoped would win me some recognition.
Now, if you’re a regular reader of this blog, you’ll realize how patently ridiculous this stance is … and was. Like most moral crusaders, I went into explicit … and titillating … detail about the content of “Faces of Death” as well as other controversial epics of the day (“Silent Night, Deadly Night,” “Body Double”) to make a point about … I mean, I was trying to get people to … OK, for the life of me, I can’t remember what my conclusion was. I don’t think I called for banning the films and I don’t think I advocated broadcasting them on the Disney Channel. If memory serves … there was literally no point to the speech at all, except to describe in explicit detail the sexual and violent content of these films. The speech was as much of a freak show as the films I discussed and of course had a tone of “These movies didn’t warp me because I’m smart … but not-so-smart people may do harmful things if they see them, so look out!”
I remember practicing this speech in front of my older brother. He listened patiently and when I finished, he told me in the kind of tone reserved for a doctor telling a patient they have a terminal illness said “Dave, you need to get laid.” Needless to say, given the lack of point and the endless variety of atrocities I described, the judges saw through my ruse immediately and the speech was, alas, not a success.
Seeing the writing on the wall, I abandoned being a moral crusader. Not only was I not good at it and full of s–t, I realized that moral crusaders frequently don’t live up to their highfalutin’ pronouncements and often find themselves being referred to as “Client 9” in indictments. More importantly, my peers of the fairer sex generally don’t find uptight, strident, self-righteous prigs that attractive. Besides, in subsequent months, I had discovered an awesome way to simulate someone’s hand being blown apart (ala “Taxi Driver”) which I used in my own sleazy Paul Schrader-inspired short film that I made for an arts program the following summer. I should point out that the graphic hand mutilation was ABSOLUTELY essential to the plot.
I’ve included the ending of “Faces of Death IV”. As much as the narrator looks like Larry David, I don’t believe it’s him (though, God, I wish it were). Anyway, after the success of the first three “Faces of Death” films, it looks like they had enough money to finally compose a song based on the film series. The song has to be heard to be believed. I will warn you that the footage over the end credits is fairly gruesome and not safe for work, but if you’re a sicko like me, the theme song will have you dying in hysterics. Enjoy!
Here’s a very cool use of (arguably) Michael Jackson’s finest music moment (“ABC”) in a film where you wouldn’t necessarily expect such a cute scene. Don’t get me wrong. Despite the crude jokes and language, Kevin Smith movies always have a lot of heart. However, the comic highlight of this film does involve a donkey show that goes WAAAAY further than the one in “The Godfather Part II” or the Tom Hanks film “Bachelor Party” …. so take it for what it’s worth. Rest assured, dear lurkers, this is a sweet scene where the lead character Dante is nervous about his upcoming wedding and his good friend (and recent one-time lover) Becky is teaching him how to dance for his wedding … despite some misgivings that she’s having trouble admitting to herself. It’s not entirely safe for work due to some brief nudity of some large man’s ass who seems to be dancing and urinating at the same time (trust me, it’s not as bad as it sounds). And yes, I have a little crush on Rosario Dawson, the actress who plays Becky. Dawson always struck me as a more down-to-earth J-Lo. Why Dawson’s not a bigger star is God’s private mystery. Aside from “Dogma,” “Clerks 2” is Kevin Smith’s best movie.
This may be weepie 70s AM-pop at its most maudlin, but this song packs an emotional wallop. Desite Harry Nilsson’s talent as a composer, this is actually a cover of a Badfinger song. As much as I love Badfinger, their original version of “Without You” is severely lacking, especially in emotional heft. Which is shocking, especially given how melancholy their “Straight Up” album is. But Nilsson nailed it way better in my mind. Later used to great effect in Martin Scorsese’s 1995 film “Casino” and especially in Roger Avary’s 2002 film adaptation of Bret Easton Ellis’s “Rules of Attraction.”
From Joe Walsh’s 1985 album “The Confessor,” comes this blistering 7-minute plus title track that starts off quiet (albeit very menacing) and then explodes into one of the best hard rock guitar freakouts of all time. Some extremely sick and heavy guitar playing in the second half of this song. Completely kicks the ass of 95% of the music that calls itself hard rock.
As someone who is increasingly trying to look at glasses half-full instead of half-empty, here’s a big positive that was created out of a negative. The positive in this case is a totally f–king kick-ass song by AC/DC, composed for the 1986 Stephen King-directed film “Maximum Overdrive.”
Now, I actually like Stephen King and have enjoyed a lot of the adaptations made from his novels and stories. If you sneer at this assertion, let me remind you of some of the awesome films that resulted as adaptations: Brian DePalma’s “Carrie,” Stanley Kubrick’s “The Shining,” David Cronenberg’s “The Dead Zone,” Bryan Singer’s “Apt Pupil,” Frank Darabont’s “The Shawshank Redemption.” And yes, I’ve even enjoyed a few of the lesser adaptations: John Carpenter’s “Christine,” Mark Lester’s “Firestarter.”
Alas “Maximum Overdrive” was not one of them. In fact, it’s probably in my Top 30 of the worst films I paid full evening admission to see in a theater. King later admitted he was snorting tons of coke when making this film, and sadly, that’s about right.
But … you can’t ignore the AC/DC score, especially this beyond awesome theme song. One of their best.
This is nearly a half hour of footage from one of the greatest rock shows of all time. This was the show that was recorded for the Ramones’ classic live album “It’s Alive.” Considering that album is 28 songs in roughly 58 minutes, you’re getting quite a bargain. What are you waiting for?
When director Martin Scorsese signed a deal with Universal Pictures in the late 1980s to release his passion project “The Last Temptation of Christ,” I’m fairly certain he was required to deliver a commercial film in exchange for Universal releasing such a polarizing personal film. Well, in 1991, Scorsese delivered in spades.
Forget “Boxcar Bertha” (the exploitation film Scorsese made for Roger Corman in the early 1970s), “Cape Fear” is Scorsese’s ultimate balls-to-the-wall exploitation film. Granted, it wasn’t seen that way given the large budget and stellar acting cast (Robert DeNiro, Nick Nolte, Jessica Lange, Juliette Lewis), but make no mistake, Scorsese’s remake of the 1962 shocker with Robert Mitchum is the ultimate Freddy-Jason stalker/slasher film.
Many Scorsese purists detest this film. To whom I say, f–k you! Scorsese loves ALL films, including the sleazy ones that used to play Forty Deuce. Legend has it that he got into a fight with one of his girlfriends, studio executive Dawn Steel, over the merits of the classic 1982 exploitation film “Vice Squad” (Scorsese angrily argued that it should have been up for Best Picture at that year’s Oscars).
Despite its disreputable pedigree, it did win Oscar nominations for DeNiro and Lewis. And it was Scorsese’s biggest box-office success until the release of “The Aviator” in 2004. I’m docking the accompanying trailer MAJOR points for NOT including the music from “Cape Fear” and substituting generic music instead. The music from Cape Fear (originally composed by Bernard Herrmann, but adapted for the remake by Elmer Bernstein) is one of the scariest scores ever composed for a motion picture. I’ve included a link to this score here:
Scorsese has always used music … especially pop music … effectively in his films. I wish I had a clip I could link to, but the use of Guns N’ Roses “Patience” during a vicious verbal fight between Nolte and Lange, while their daughter played by Lewis tearfully locks herself into her room, is brilliantly edited and shot.
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