(c) 2009 L. Driver Productions, inc. / Warner Bros. Records, Inc. - A Band Apart / Warner Bros. Records. - EX: Quentin Tarantino.
Along with The Limits of Control, one of the best compilation soundtracks of the year. Like the film, the soundtrack, too, is a meta-commentary of film history.
1. The Green Leaves Of Summer (Dimitri Tiomkin & Paul Francis Webster) pres. Nick Perito (1960), instrumental version of the main title song from The Alamo (1960)
2. The Verdict / Dopo la condanna (Ennio Morricone) pres. Ennio Morricone from La resa dei conti (1966)
3. White Lightning (Main Title) (Charles Bernstein) pres. Charles Bernstein (1973)
4. Slaughter (Billy Preston) pres. Billy Preston (1972)
5. The Surrender / La resa (Ennio Morricone) pres. Ennio Morricone from La resa dei conti (1966)
6. One Silver Dollar / Un dollaro bucato (Gianni Ferrio) pres. The Film Studio Orchestra (1967), from Un dollaro bucato (1965)
7. Davon geht die Welt nicht unter (Bruno Balz & Michael Jary) pres. Zarah Leander, from Die grosse Liebe (1942)
8. L'Homme dans le grand sombrero / The Man With The Big Sombrero (Phil Boutelje & Foster Carling) pres. Samantha Shelton and Michael Andrew, inspired by the original recording by June Havoc in Hi Diddle Diddle (1943)
9. Ich wollt, ich wär' ein Huhn (Hans-Fritz Beckmann & Peter Kreuder) pres. Lilian Harvey and Willy Fritsch, from Glückskinder (1936)
10. Main Theme from Dark of the Sun (Jacques Loussier) pres. Jacques Loussier, from The Mercenaries / Dark of the Sun (1968)
11. Cat People (Putting Out The Fire) (David Bowie & Giorgio Moroder) pres. David Bowie (1981), from Cat People (1982)
12. Tiger Tank (Lalo Schifrin) pres. Lalo Schifrin, from Kelly's Heroes (1970)
13. Un amico (Ennio Morricone) pres. Ennio Morricone, from Revolver (1973)
14. Rabbia e tarantella (Ennio Morricone) pres. Ennio Morricone, from Allonsanfan (1974)
***
Other Ennio Morricone selections in the motion picture itself: "L’incontro con la figlia" (from Il ritorno di Ringo, 1965), "Il mercenario (ripresa)" (from Il mercenario, 1968), "Algiers November 1, 1954" (with Gillo Pontecorvo; from La battaglia di Algeri, 1966), and "Mystic and Severe" (from Da uomo a uomo, 1967.
Showing posts with label Quentin Tarantino. Show all posts
Showing posts with label Quentin Tarantino. Show all posts
Sunday, September 06, 2009
Saturday, September 05, 2009
Inglourious Basterds
Kunniattomat paskiaiset / Ärelösa jävlar. US/DE (c) 2009 Visione Romantica. D+SC: Quentin Tarantino. DP: Robert Richardson - negative: 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219), anamorphic Panavision 2,35:1 - digital intermediate 2K. CAST: Brad Pitt (Lt. Aldo Raine), Mélanie Laurent (Shosanna Dreyfus), Christoph Waltz (Col. Hans Landa), Eli Roth (Sgt. Donny Donowitz), Michael Fassbender (Lt. Archie Hicox), Diane Kruger (Bridget von Hammersmark), Daniel Brühl (Pvt Fredrick Zoller), Til Schweiger (Sgt. Hugo Stiglitz), Gedeon Burkhard (Cpl. Wilhelm Wicki), Jacky Ido (Marcel), B.J. Novak (Pfc. Smithson Utivich), Omar Doom (Pfc. Omar Ulmer), August Diehl (Major Dieter Hellstrom), Denis Menochet (Perrier LaPadite), Sylvester Groth (Joseph Goebbels), Martin Wuttke (Adolf Hitler), Mike Myers (General Ed Fenech), Julie Dreyfus (Francesca Mondino). 156 min. Original in French, German, and English. Released in Finland by Finnkino, with Finnish / Swedish subtitles by Timo Porri / Janne Staffans. Viewed at Cinema Bristol, Helsinki, 4 Sep 2009 (Finnish premiere day). - Although the film is reportedly based on a 2K digital intermediate, the print had a pleasant photochemical look except in the forest scenes. - I love Quentin Tarantino, but I have been disappointed with his films since Pulp Fiction because of their regressive development. - To be redeemed: the great cast - the complexity of Daniel Brühl's character: the Wehrmacht has made him a killer, yet one can sense the human being struggling to emerge from the uniform - the smiling, polite Gestapo officer created by Christoph Waltz certainly belongs to the great villains of film history - Brad Pitt has developed a new and strong blackly humoristic charisma in his roles for the Coen Brothers and Tarantino; in these roles he is at his best - Mélanie Laurent is dignified as Shoshanna Dreyfus, brutalized by the Holocaust. - The fascinating thing is Tarantino's meta-commentary of film history, which ranges from Ernst Lubitsch (To Be Or Not To Be) to European war exploitation cinema. It is fun, and maybe I'm wrong to expect more. - I hate the sadism of this film. I also hate the simple-minded revenge motif of this film. My initial reaction is also that this film does a terrible disservice to the Jews. - For the Finnish viewer it is striking to notice the swastika over Finland on Hitler's map of Europe. It is not right (Finland was never under Nazi rule), nor quite wrong (Finland was a partner in Operation Barbarossa).
Monday, March 02, 1998
Jackie Brown
100633 / 16 / US / 1997 / Tarantino, Quentin / crime
Jackie Brown / Jackie Brown. © Mighty Mighty Aphrodite Productions. A Miramax release. P: Lawrence Bender. D+SC: Quentin Tarantino - based on the novel Rum Punch (1995) by Elmore Leonard. CAST: Pam Grier (Jackie Brown), Samuel L. Jackson (Ordell Robbie), Robert Forster (Max Cherry), Bridget Fonda (Melanie), Michael Keaton (Ray Nicolette), Robert De Niro (Louis Gara). 155’. 1,85. MPAA 35732. Rated R = 17. Finnish / Swedish subtitles by Timo Porri / Janne Staffans. DIST: Columbia Finland. Viewed in Helsinki, VET, Monday 2 March 1998. *** A total surprise. The Tarantino films so far - Reservoir Dogs, Pulp Fiction, True Romance, Natural Born Killers, From Dusk Till Dawn - have all been extremely violent. This one is about crime, as well, but with little explicit violence. It’s mostly about character. It has less action than the excellent Elmore Leonard adaptation Get Shorty, also influenced by Tarantino. We see Tarantino moving in the Melville direction: Le Doulos would be a point of comparison. But the visual style of Jackie Brown is flat. Another point of comparison would be Rio Bravo with its long duration, flat cinematography and emphasis on character. But Jackie Brown is much more laid back - at the risk of losing excitement. The dialogue is less flashy than before. The soundtrack CD will be worth buying. True Tarantino aficionados will want to see this film three times.
Jackie Brown / Jackie Brown. © Mighty Mighty Aphrodite Productions. A Miramax release. P: Lawrence Bender. D+SC: Quentin Tarantino - based on the novel Rum Punch (1995) by Elmore Leonard. CAST: Pam Grier (Jackie Brown), Samuel L. Jackson (Ordell Robbie), Robert Forster (Max Cherry), Bridget Fonda (Melanie), Michael Keaton (Ray Nicolette), Robert De Niro (Louis Gara). 155’. 1,85. MPAA 35732. Rated R = 17. Finnish / Swedish subtitles by Timo Porri / Janne Staffans. DIST: Columbia Finland. Viewed in Helsinki, VET, Monday 2 March 1998. *** A total surprise. The Tarantino films so far - Reservoir Dogs, Pulp Fiction, True Romance, Natural Born Killers, From Dusk Till Dawn - have all been extremely violent. This one is about crime, as well, but with little explicit violence. It’s mostly about character. It has less action than the excellent Elmore Leonard adaptation Get Shorty, also influenced by Tarantino. We see Tarantino moving in the Melville direction: Le Doulos would be a point of comparison. But the visual style of Jackie Brown is flat. Another point of comparison would be Rio Bravo with its long duration, flat cinematography and emphasis on character. But Jackie Brown is much more laid back - at the risk of losing excitement. The dialogue is less flashy than before. The soundtrack CD will be worth buying. True Tarantino aficionados will want to see this film three times.
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