Soundtracking: Rachel Getting Married

by Chris Feil

Jonathan Demme’s career was populated with a musical sensibility that bordered on spirituality, more obviously so in his many music documentaries and the definitive Stop Making Sense. His narrative films could stealthily incorporate a hum of music integral to the world he was presenting, as keenly observed as his character details. From Something Wild to Philadelphia to even Ricki and the Flash, Demme would use music to make his stories come alive in authentic ways. Rachel Getting Married, his late career masterpiece, has a musical language all its own, one that represents the film’s simmering grief and provides its necessary catharsis.

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Months of Meryl: Ricki & The Flash (2015)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#49 —Ricki Randazzo, a rock singer who returns home to the family she abandoned.

MATTHEW: Throughout his eclectic and gloriously unpredictable career, the late Jonathan Demme paved the way for peak performances from actresses as disparate as Mary Steenburgen, Melanie Griffith, Michelle Pfeiffer, Jodie Foster, Oprah Winfrey, Kimberly Elise, Thandie Newton, Anne Hathaway, Rosemarie DeWitt, and Debra Winger. Like George Cukor before him, Demme was devoted to telling stories about women, which comprise the bulk of his narrative output. The director committed to shaping these narratives with the same heady, inquisitive vigor and nonjudgmental consideration that electrified all of his subjects, from Anthony Hopkins’ lip-licking Hannibal Lecter to David Byrne, who indelibly bopped around the stage in a business suit at least six sizes too big during Demme’s landmark concert documentary Stop Making Sense.

Ricki and the Flash, Demme’s final narrative feature, sometimes conjures the capricious, loop-the-loop feeling of a concert documentary in its depiction of the type of story that Demme loved to tell, that of an unorthodox woman shouldering her burdens and confronting any and all perils as she forges ahead with the life she has chosen to lead...

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Months of Meryl: The Manchurian Candidate (2004)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

#30 —Eleanor Prentiss Shaw, manipulative mother of a Vice Presidential candidate brainwashed by an international cabal. 

JOHN: The one regrettable casualty of this feature-film series is, of course, Streep’s Emmy winning performance(s) in Mike Nichols’ 2003 HBO adaptation of Tony Kushner’s Angels in America. Perhaps we’ll have time to dig into that series in the future, but suffice it to say we rank her work in it quite highly. In 2004, Streep signed on to her first-ever remake, Jonathan Demme’s The Manchurian Candidate, playing a role made famous by Angela Lansbury in John Frankenheimer’s 1962 film. Demme’s version updates Frankenheimer’s film and Richard Condon’s 1959 source novel to contemporary times, made amid the the Bush/Kerry election and thematically enmeshed in the U.S.’s “War on Terror.” Denzel Washington stars as Ben Marco, a Gulf War veteran whose puzzling memories and twisted dreams of serving in Kuwait drive him to uncover the sinister forces driving fellow soldier and newly-selected, left-leaning Vice Presidential nominee Raymond Shaw (Liev Schreiber) into national prominence. Shaw’s blandly robotic demeanor is operated by his manipulative mother, Virginia Senator Eleanor Prentiss Shaw, heir to an American political dynasty but now working covertly for the ominous international private equity fund Manchurian Global...

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"American Girl": Tom Petty at the Movies.

By Salim Garami

What's good? 

In memory of the musical legend Tom Petty, I couldn't help thinking about how the movies essentially introduced me to my love for his music (much as movies happen to introduce me to a lot of music I come to hold close to my heart) and I wanted to have something to say about it.

So I looked to two wildly different films that utilize the quintessential Heartbreakers classic "American Girl", the jangly pumping tune about a young girl looking out in hopes of a world outside her balcony. It was his second big hit, riding on the success of previous single "Breakdown", and it's instantly recognizable in the Diddley-esque high chords strumming and the sort of bass drum kick-snare pattern that makes one pop up and ready to move. It's no less infectious than any pop song of the day in its simplicity. So it only makes sense that so many films and tv series would be eager to use it in their soundtracks.

Take It Easy, Baby, and Find Out Which Films I Choose After the Break...

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