Podcast: MidSommar & Wild Rose

with Murtada Elfadl, Nathaniel R, and Chris Feil

 

Index (56 minutes)
00:01 A spoiler-filled discussion of Ari Aster's new horror film MidSommar starring Florence Pugh and Jack Reynor. We have three different opinions about its value.
38:10 Tom Harper's Wild Rose. You've seen this musical drama before but three performances by Jessie Buckley, Julie Walters, and Sophie Okonedo and the music (the finale song is by Mary Steenburgen!) elevate it. 
50:00 Lots of randomnees including Almodóvar movies, bad television, and future movies we're looking forward to including The Farewell and Once Upon a Time in Hollywood.

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you? 

Reading Assignments
• Chris Feil's MidSommar review
• "The End of Empathy" -Andrew Kendall on MidSommar
• Halfway Mark Actresses - Nathaniel's fav performances of 2019
• Nick's VOR ratings -an explanation

 

MidSommar & Wild Rose

Soundtracking: Nashville

by Chris Feil

We don’t really think of Robert Altman’s Nashville as a musical. To be fair, it both is and it isn’t. As is trademark for the director, the film is focused on character first to reveal its themes, exposing a distinctly American disposition both in its specific social strata and in the grander national sense. But Nashville isn’t always interested in doing so through song. Even taking place in the country music world, music feels like an equal contributor to Altman’s portraiture as any of the ensemble members.

Viewers wanting Altman to languor in the thematic sway of a musical’s tunes will always have A Prairie Home Companion. Instead here he upends genre traditions much as he does general narrative ones. Musicals are a genre that even at its best can still feel the least spontaneous, and spontaneity is a definitive Altman trait...

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Soundtracking: Toy Story 2

by Chris Feil

No one uses music to trigger instant tears with such sudden velocity as Pixar does. The “Married Life” sequence from Up, Coco’s “Remember Me” gaining depth through repetition, the reverence for youth that defined the entire Toy Story series with “You’ve Got a Friend in Me”.

But the first time Pixar went for the emotional jugular in a way that felt like a definitive part of their musical brand was to come in Toy Story 2. The sequel introduces us to Jessie, a cowgirl compatriot to Woody, filling space as a collector’s item instead of being cared for by an adoring child. But the film offers a standalone musical montage of Jessie’s former life as the prized possession of a girl named Emily, one who slowly and painfully outgrows her to the sound of Sarah MacLachlan and “When She Loved Me”.

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Soundtracking: A "Titanic" melody and Oscar memory

by Chris Feil

Aren’t we all happy now that the Best Original Song nominees are staying on the ceremony? Now that the uproar is settling, perhaps it’s a safe time to reflect on why removing them from the telecast never should have been up for debate. What better example of music’s inextricability from the movies and their intertwined cultural impact than Titanic?

“My Heart Will Go On” was its own inescapable beast in 1997 aside from Titanic itself, the dominance of the film and song fueling each other’s fire in tandem...

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Soundtracking: The "Alone Yet Not Alone" Snafu

by Chris Feil

A moment that will live in Oscar infamy, it happened so fast we could barely take in the joy of “Oscar nominee June Squibb” as a realized concept. Five years ago Cheryl Boone Isaacs, standing next to Chris Hemsworth, downshifted from announcing supporting acting categories into the much more low-pressure Original Song category. And then unleashed chaos onto announcement morning.

What the hell was “Alone Yet Not Alone” from Alone Yet Not Alone?

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