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Posts Tagged ‘Terrence Malick’

Last week’s Music Monday got me thinking about this song.

From my meager knowledge, this is about as close as we get to a modern [American] murder ballad; I realize it lacks certain elements that tend to be present in the genre.

There’s another live version of Springsteen doing this on a 12-string. I prefer it, but the recording is a bit harsh and his voice, more monotone. Something feels more authentic about it though. (Actually, I truly prefer the studio version but it’s not on youtube anyway).

As I was trolling around on youtube, thank God that I found this, too. I had no idea Springsteen had it in him to be this sexually bold in a song. The version released on “Born to Run” was suggestive, but not really, right? It’s all teenage pop with no room for the bravado and double entendre.

Sadly, without some remixing, it’s hard to hear the vocals clearly-they’re pretty sketchy.

After that, I’m ’bout ready to let Bruce feel my own crushed velvet seats.

Late breaking post update: I just found out that “Pink Cadillac” was not released on “Born to Run.” Whatever the hell I used to hear as a radio hit must have been the B side of “Dancing in the Dark.”

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Today, the music is courtesy of Camille Saint-Saens from “The Carnival of Animals,” the piece called “The Aquarium.”

Since I went to see “Tree of Life” last night, I was thinking about other Malick flicks. The movie was sold out, so we ventured on to “Midnight in Paris.” Nothing sums up my feelings for that movie quite like this review.

“Days of Heaven” is one of my favorite movies, but that’s really an understatement. Hence, I insert a quickie review of mine from a few years ago:

This is in my top ten of all time. A masterpiece from the golden era of American cinema. Allegorically, the story of the clash of agriculture with the coming industrial revolution. None better than the ethereally beautiful narrator played by Linda Manz and the only Richard Gere movie that’s worth a damn. Haunting soundtrack and haunting images. Unmatched cinematography. A time passed that we’ll never see again, both in cinema and in America. This should be required viewing for all. I did have a friend who thought it was too slow and that, well, nothing happened. Go figure.

Now please witness one of the most striking opening sequences in movie-dom and a perfect marriage of music and image.

(Sadly (and ironically since this is Music Monday) both the first and last few notes of the piece are cut off in this clip).

When I watch this, I feel like I’m seeing something I’m not meant to see–it’s all mystery, a secret. The turn of the boy’s head as he lights a cigarette; the smiling but calm children looking up from play. They can see through me. I am unnecessary, superfluous. I am the passer-by; they are permanent. Voyeur.

I recognize a couple of the images–the one of the man with the socket wrench is Margaret Bourke-White. I am sure I’ve seen the man jumping across the 2 rocky cliffs outside of these opening credits, but not sure where. That ice palace stuck with me from first time I saw the film; again, haunting is the word that comes to mind. I looked all over the internet and while I can’t be sure, I think it’s the Ice Palace from the Montreal Winter Carnival, circa 1884. Frozen in time.

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