Soundtracking: "Blue Velvet"

This week, Chris Feil's soundtrack series covers a David Lynch classic...

David Lynch has used music to genius effect over his career, particularly drawing from 50s and 60s crooners to create a cinematic world displaced in time. But Lynch’s most definitive use of preexisting songs is in one of his most narratively focused masterpieces, Blue Velvet. This is the best example of how he distorts the wholesomeness of the sound to reveal darker tones beneath performative American culture.

Music is as much a piece of this suburban facade as any of Lynch’s hellscapes, announcing as much when it fades from Angelo Badalamenti’s operatic overture to Bobby Vinton’s title classic. A placid sky descends upon a thorny rose bush, gorgeously staining the picked fence’s rigid sterility like how Lynch poisons our relationship to the music. Vinton’s voice is tinny in its soulfulness, a swingy sanitized ode that matches Lynch’s picturesque neighborhood for quaintness. Musically, it feels as manufactured as this idyllic vision before us until it fades and morphs into something beastly beneath the manicured, bland exterior.

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More Tarantino Bloodshed Coming

Chris here. Quentin Tarantino has begun to lineup his next film to shoot next year, and it could be even bloodier than his divisive Hateful Eight if the subject matter is any indication. Hold on to your stomachs, the provacateur will next be tackling the Manson murders.

While this seemingly won't appease anyone put off by Hateful's gruesome antics, the potential for something great is there and Tarantino reportedly does have a unique take on the material yet to be revealed. Per his previous comments, this looks to be his penultimate film, but I'm guessing that that's actually as likely as that "unique take" being a tamer vision regarding onscreen bloodshed. My first guess is that like Inglourious Basterds before it, Tarantino will be doing a bit of revisionist history with the details of Charles Manson's enacted violence.

Casting is already promising some major talent, with reportedly approached stars including Brad Pitt, Jennifer Lawrence, Samuel L. Jackson, and Margot Robbie. Details are sparse on what roles could be attached to each star, aside from Robbie possibly playing Sharon Tate. We'll see what Tarantino's take is on the story and what the ensemble might actually shape up like - but (should it come to be) doesn't Pitt as Manson already sound like a fascinating choice?

TIFF Launches $3m Campaign for Female Filmmakers

by Seán McGovern

Connie Nielsen on set with "Wonder Woman" director Patty Jenkins.

Instead of just lamenting the lack of female filmmakers helming projects today, TIFF is spearheading a $3m campaign to put more female talent behind the camera. Female directors accounted for just 7% of the highest grossing films worldwide in 2016. And that figure is down on the equally dismal 9% in 2015.

Dubbed "Share Her Journey", the campaign will include a three-month residency for female filmmakers, educational resources and gender diversity panels that aim to guide new and talented filmmakers into the industry...

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Doc Corner: 'The Reagan Show'

Ronald Reagan was the most videoed President by the time he left office in 1989. As told to us in The Reagan Show, there was more video taken of Reagan than the five Presidents before him combined. Sierra Pettengill and Pacho Velez’s documentary is a compilation of this footage, taken by personal videographers as he filmed televised addresses, walked the grounds of the White House and attended events, as well as news footage from the era. Whether one agrees with the controversial President or not – and, fair admission, I do not – there’s something interesting in the cinematic trawling through this video content and through this film’s early passages, I was pleasantly enthralled by the backstage pass to an old Presidency.

However, the title “The Reagan Show” suggests something that the film ultimately does not deliver. Across its brief 75-minute runtime, The Reagan Show veers away from a broad path of general observation, and instead focuses almost exclusively on one subject...

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Bogdanovich on Filmstruck

by Eric Blume

This month, Filmstruck offers up the one-two-three early 1970s punch of director Peter Bogdanovich.  Can you think of any other filmmaker who made three such incredible pictures within a three-year period, only to fade into a disastrous career afterwards?

1971’s The Last Picture Show holds up incredibly well, and ranks as one of the decade’s finest pictures. This film about various lonely souls who have no clue how to connect still resonates powerfully, partially because Bodganovich is unapologetically “adult” in his handling of these story strands. Nothing feels watered-down or soft, and all the characters have edges that make them specific and interesting. Ben Johnson and Cloris Leachman deservedly won supporting Oscars that year for their fine performances, but everyone in the cast delivers beautiful work. There’s a simplicity to the acting, in the best sense: everybody just “is”. Bodganovich has confidence with the material, and he’s passionate about the storytelling. There’s a lingering sadness about the picture that feels distinct in tone, matched perfectly to Larry McMurtry’s original prose and to the characters.

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