senseiorew.blogg.se

1. #COOLIO GANGSTERS PARADISE BY MOVIE#
2. #COOLIO GANGSTERS PARADISE BY PROFESSIONAL#

I will point out that this scene wouldn’t work with any other song. Annie is the paper bag, the mess, too broke to love I won’t analyze the connection, it’s clear enough. When Apple warbles on that last “costs,” you wonder if she’ll make it to the end of the note or collapse and give up. I got to fold ’cause these hands are too shaky to hold ’Cause I know I’m a mess he don’t wanna clean up

#COOLIO GANGSTERS PARADISE BY MOVIE#

It’s the only part of the movie without any dialogue or any comedy (except, perhaps, the joke of going to all that trouble to make one cupcake and then eat it by yourself).

Neither action makes her feel any better. Then, finally, we see her alone, in the much-written-about “cupcake scene.” Exhausted, emotionless, Annie makes exactly one magenta cupcake from scratch and decorates it to look like a flower, going so far as to paint the individual petals. Over the movies first act, we see Annie interact with her fuckboi sex partner, co-workers, roommates, mom, best friend, future frenemy, and eventual love interest.

#COOLIO GANGSTERS PARADISE BY PROFESSIONAL#

In 2011’s Bridesmaids, self-sabotaging Annie (Kristen Wiig, who co-wrote the screenplay with Annie Mumolo) is a former professional baker who semi-recently lost her bakery, her boyfriend, and a little bit of her will to live. But it’s in two female-fronted ensemble movies- Bridesmaids and Hustlers -that we see what the power of adding Apple to a scene can really be. The 1998 movie Pleasantville featured her version of The Beatles’ “Across the Universe,” a cover that pops up on other soundtracks from time to time. Īpple’s greatest hits consistently pop up in moody, mid-brow television series, usually those with a sexy and/or female slant: The Chilling Adventures of Sabrina, Girls, Euphoria, The Affair, The Handmaid’s Tale.

Īnyone looking to put together a movie about a complex woman would do well to listen closely to Fiona Apple’s just-released new album, Fetch the Bolt Cutters. All of which is to say that filmmakers need to choose their characters’ identifying songs carefully, and that anyone looking to put together a movie about a complex woman would do well to listen closely to Fiona Apple’s just-released new album, Fetch the Bolt Cutters. Margot Robbie as Harley Quinn did an admirable job of writhing and grinning to Lesley Gore’s “You Don’t Own Me” during her character’s introduction in Suicide Squad- but the rest of the movie is a muddled mess, and Gore’s anthem to liberation deserved a better avatar. Other times, though, filmmakers lean on the soundtrack like a crutch to prop up a thinly written character. Tom Cruise as Lestat in the final moments of Interview with the Vampire only works because of The Rolling Stones’ “Sympathy for the Devil” Christian Bale’s Patrick Bateman in American Psycho simply must wield his axe to Huey Lewis and the News’ “Hip to Be Square.”

Sometimes in a movie, a character moment matches so perfectly to the song it’s set to that it becomes impossible to picture the scene with any other soundtrack.