5/19/2023 0 Comments Iconical songs ending movies![]() ![]() Crosby died five weeks after recording the track, and Merrie Olde Christmas would be his last Christmas special. This duet takes on an added poignancy now that both men are gone. He'd just as happily record with Crosby as he would with Queen or Nile Rodger from Chic - all different artists, from different genres and generations, but all artists whose styles meshed perfectly with Bowie's chameleon-like ability to change his voice to suit whatever occasion he found himself in. It's a terrific reminder of Bowie's voracious musical appetite. It resurfaces every year around the holidays, Crosby's robust baritone melding perfectly with Bowie's soaring tenor. Todd VanDerWerff "Peace on Earth/The Little Drummer Boy," Bing Crosby's Merrie Olde Christmas It marks a kind of metamorphosis: soft to hard, then back again. As Shoshanna - a Jewish woman who's plotting revenge against the Nazis for what they did to her family - prepares for the night of her final, fiery vengeance, "Cat People" scores her transformation from woman to weapon of pure, righteous fury. It was also brilliantly reappropriated by Quentin Tarantino in one of the best sequences of his 2009 film Inglourious Basterds. The song he wrote for the film is a brooding, ominous anthem, the sound of synthetic thunder on the horizon. The sensuous, erotic story of a couple of werecats and the human who loves one of them, Cat People sounds ridiculous but is actually deeply felt and tragic - a space that Bowie occupied very well. If ever there were a movie that suggested David Bowie should write its title song, it was director Paul Schraeder's 1982 remake of the '40s horror film Cat People. Todd VanDerWerff "Cat People (Putting Out the Fire)," as heard in Cat People, Inglourious Basterds It was so hauntingly beautiful it essentially broke the show, which could never rise to its level. That season's premiere was a mess, but its finest moment involved Jessica Lange, a microphone, and "Life on Mars?". Fittingly, its eventual '80s-set spinoff was titled after another Bowie song - Ashes to Ashes.īut "Life on Mars?" also proved to be a major part of American Horror Story's fourth season, which was set in the 1950s but would occasionally, and usually out of nowhere, become a musical scored with anachronistic tunes. In particular, the show's use of the song in its series finale was devastatingly memorable (and will not be spoiled here go watch it now!). The show used a lo t of Bowie in its soundtrack, as you might expect, and it frequently returned to its title track, turning it into a kind of totem of its main character's journey through time. ![]() That made the song a perfect fit for the British cop show Life on Mars, which featured a cop from the 2000s traveling back to the 1970s after falling into a coma. … However, the film is undeniably beautiful.” While the film's attempts to explore the emotional aftermath of the tragedy are understandable, its execution is often heavy-handed.Bowie's swooning "Life on Mars?" has provided the score for many memorable cinematic moments, but there are two from television that really capture the song's feeling of unexplored possibility, the sense that anything could happen if you were able to see beyond the veil of reality. ![]() Is it bad? Well, it certainly felt empty. FineMoose writes, “ Extremely Loud and Incredibly Close. Unfortunately, many felt that the film's handling of the sensitive subject of 9/11 is questionable and potentially exploitative. Using black-and-white imagery creates a sense of otherworldliness that is captivating. The scene is hauntingly beautiful, with the projection as a slow-motion ballet, capturing the falling person's weightlessness and ethereal presence. In one of the most striking scenes in the movie, Schell watches a projection of a person falling from the World Trade Center. Hank’s character died in the 9/11 terrorist attack. Extremely Loud and Incredibly Close tells the story of a young boy named Oskar Schell ( Thomas Horn) who embarks on a journey to find the lock that fits a key left behind by his father, played by Tom Hanks.
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