How is it that one of the most distinctive and influential film composers of his generation is practically unknown today and almost all of his records out of print and unavailable in any reissue format? Of the many scores listed in his filmography only a few have been re-released on CD in recent years such as The Hustler, Downhill Racer and Baby Doll, which is already out-of-print, but what of the rest? 12 Angry Men, Wild River, Lilith, The Strange One, Mister Buddwing, This Property is Condemned, The Yellow Canary, The Fugitive Kind…and I haven’t even mentioned the space age bachelor pad music he created with the Creed Taylor Orchestra – Nightmare, Shock Music in Hi-Fi, Panic: The Son of Shock and more.Continue reading
During his lifetime, Elvis Presley made 31 feature films, two theatrical documentaries and numerous TV specials. What is rather surprising is the fact that Hollywood never showcased Elvis as a live performer or in a concert film until the end of his career. How much of that was due to his manager, Colonel Tom Parker, is debatable but Elvis on Tour (1972) is regarded as the last official Elvis movie that was distributed to theaters.
Everyone loves a good satire and the music industry always makes a great target with such superior examples of the form as The Girl Can’t Help It (1956), Head (1968) and This Is Spinal Tap (1984). The Cool Ones (1967), the story of a has-been pop idol and an aspiring singer teaming up to become the next big thing, certainly deserves credit for taking a lighthearted, broadly comic approach to the world of greedy record executives, egomaniacal producers, opportunistic promoters and wildly ambitious musicians. But the film is so hopelessly out of step with its intended audience and played at such a manic pitch that it approaches the infamous badness of Skidoo (1968), Otto Preminger’s mind-boggling mashup that pits gangsters against hippies. Continue reading
The impact of rock ‘n roll music and the emerging youth culture of the late fifties on Indian cinema didn’t happen overnight but Junglee (1961) – one of the biggest Bollywood hits of its era – was largely responsible for ushering in the swinging sixties while smashing the formulaic conventions of the traditional romantic drama, a staple of the Bombay film industry. Not only was it filmed in dazzling color, a process usually reserved for costume epics only, but it starred the screen phenomenon known as Shammi Kapoor – India’s answer to Elvis Presley. His wild rendition of “Aai Aai Ya Suku Suku” became the rallying cry for his generation and introduced a new word into the Hindi language (Yahoo!), one that expressed an uninhibited lust for life. Continue reading