![]() ![]() Adams circles him and flits away like a coked-up Tinkerbell, her independence intact even when she rubs up against him. Cooper is all in, his torso undulating, sweat collecting in his perm. But the brief encounter between Cooper and Adams on the dancefloor expertly captures how two desiring bodies could use Eurodisco's gale force pull to align. The one in which Jennifer Lawrence furiously housecleans while singing along to Wings' " Live and Let Die" feels slightly overplayed to me: too much hair-tossing, not enough genuine rage. Russell's song-saturated film, but two others rival it. ![]() I've already given my proposed statuette to a different scene in David O. Bradley Cooper and Amy Adams get down to "I Feel Love" in American Hustle. I'll be rooting for Frozen's blockbuster, " Let It Go," and for Will Butler and Owen Pallett's tender, sad score for Her, but let's imagine a new category: Here are five nominees for what you might call Best Music in Reel Life.ġ. You won't see these songs up for their own awards on Sunday night, but they animate nearly everything else that's nominated - performances and plot twists and the unknowable thing that tethers us to home even when we're spinning in space. ![]() I still think that film's profundities on the subject can't be topped, but after seeing all of the year's Best Picture nominees, I'm happy to say that most offer at least one signature scene that reveals how, in our lives as well as in cinema, music shapes character and cements relationships. I've already commented on the astonishing way 12 Years a Slave demonstrates how song and dance were forces of both liberation and further oppression for Africans living under American bondage. This achievement comes in a remarkable year for music as an engine of plot and mood in Oscar-nominated movies. No one - not the cops, or more powerful crooks, or an angry wife, or even, in the worst of times, each other - can break the connection between them, as elastic and strong as the winding lines of a Johnny Hodges saxophone solo. As Ellington fans, and as perfect listeners, these two stand together above the rest. It structures the entire film by establishing both the ground of the Rosenfeld-Prosser relationship and the reason for their inevitable triumph. The way they listen together is as intimate and quietly climactic as real sex.įor my money, this is the best single use of popular music in a film this year. The pair quickly retire to a private room, where Rosenfeld has a stereo at the ready he drops the needle on " Jeep's Blues," the pivotal Duke piece these made-for-each other lovers both love. "Is that Duke Ellington on your bracelet?" he murmurs. At a swinger's pool party in 1978, a flabby yet still somehow alluring Christian Bale gently grabs the arm of Sydney Prosser, played by Amy Adams at her most wide-eyed and guileful. The most romantic scene from any of this year's Oscar-nominated films begins with a deliciously idiosyncratic pickup line. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |