To celebrate the fact that this blog is now accessible at http://davesstrangeworld.com, here’s a sweet, soulful favorite from the mid-1990s.
To celebrate the fact that this blog is now accessible at http://davesstrangeworld.com, here’s a sweet, soulful favorite from the mid-1990s.
Number 3 on Dave’s Strange World’s all-time favorite films is P.T. Anderson’s magnificent epic film the L.A. porn industry between 1977 and 1984. It still amazes me to think that Anderson was only 27 when he made this film, because it exudes an artistic confidence that is rare in most films, let alone by young filmmakers making their 2nd feature.
“Boogie Nights” combines the delirious rock-n-roll rhythms of Scorsese’s “Goodfellas,” the successful juggling of multiple quirky, memorable characters / storylines (ala Robert Altman), and “Wouldn’t it be really f–kin’ cool if I tried this?” sense of danger / bravado of Tarantino. Like “Goodfellas,” it’s a 2.5 hour film that feels like its half its length. Anderson has gone on to make other brilliant films (“Magnolia,” “Punch Drunk Love,” “There Will be Blood”), but none of them are quite as breathtaking as “Boogie Nights.”
The scene here is the bravura sequence near the end of the film where Mark Wahlberg’s Dirk Diggler character (his success as a porn actor squandered on cocaine addiction), along with his pals (played by John C. Reilly and Thomas Jane) makes a desperate attempt to rip off a drug dealer. The scene is based on the infamous Wonderland murders from 1981 that involved John Holmes. Anderson’s use of 80s pop music in this scene is extraordinary … especially the use of Night Ranger’s “Sister Christian,” which takes on a deeper meaning, because the song is about the loss of innocence and it’s an ironic and sad counterpoint to the characters in this scene, who are long past that stage. The character with the firecrackers was a steal (with permission) from Robert Downey Sr.’s abrasively funny 1969 satire “Putney Swope.”
Because this scene involves substance abuse, graphic violence, and bad language, not safe for work or little ones.
The Ramones cover the bubblegum rock classic by the 1910 Fruitgum Co. I dare you not to sing along by the end of this.
Zappa’s mildly snarky, but ultimately affectionate tale of the rise and fall and rise of a 60s garage punk band.
The so-called Irish Ramones most famous song. Legendary British DJ John Peel called this his all-time favorite song and requested that the opening line of the song engraved on his tombstone when he died. Irresistible power pop with really grungy guitars.
The Godfathers do an explosive cover of John Lennon’s wrenching late 1960s hit about heroin withdrawal. It really says something about the Beatles’ popularity that Lennon’s original (which is really raw stuff) made the Top 40 back in 1969. As good as Lennon’s original is, I like this version better than Lennon’s, as sacrilegious as that may sound. While the minimalism of Lennon’s original has its merits, I like the way the Godfathers fleshed it out.
Soft Cell’s best-known song in the States is “Tainted Love” and maybe, the notorious album track “Sex Dwarf” off their debut album “Non Stop Erotic Cabaret.” However, this terrific, sad ballad was a huge hit in England and has gradually become my favorite Soft Cell song over the years.
One of the greatest mash-ups of all time, courtesy of Danger Mouse. Jay Z’s “99 Problems” mixed with the Beatles’ “Helter Skelter.” F–kin’ sweet!
John Lennon in primal scream mode, delivering punk blues from hell. A pulverising song that was put to great use in Martin Scorsese’s 2006 “The Departed.”
Continuing the punk theme from “Jesus of Suburbia,” Number 9 on Dave’s Strange World all-time favorite movies is Alex Cox’s funny, nasty tale of punks, UFOs, repo men, and the CIA. This movie came out around the time me and my friends started getting into punk. In 1984, punk as a late-1970s fad had faded and whatever was left just got harder and more aggressive, hence the adjective “hardcore.” By this point, there wasn’t much mainstream media exposure to punk, other than “Blackboard Jungle”-style exposes of wayward youth on the evening news.
So when a major studio (in this case, Universal) film featured hardcore punk as a prominent part of the film and soundtrack, it was something we all paid attention to. Granted, “Repo Man” portrayed punks as stupid, violent, and amoral for the most part, but nearly all of the characters in “Repo Man” were stupid, violent, and amoral, so no one cared and laughed their asses off.
This is a really funny, subversive film that’s still hilarious to this day. It’s nihilistic sense of humor predated Quentin Tarantino’s films by about 8 years and when I first saw “Reservoir Dogs” in 1992, I described to friends as “Repo Man” meets “Goodfellas.” I realize that may strike most people as odd, but when you consider the characters in “Repo” and “Reservoir”‘s mutual misanthropy, it makes perfect sense in my book.
Of the many great scenes in “Repo Man,” I love this one where Emilio Estevez’s character is talking to his punk friend who is dying after being shot during an attempted hold-up. Estevez casually comforts his friend during his death rattle by saying “You’re going to be all right, man … Maybe not.”