Sometimes, it’s just for fun

Even though the weekend is long over, I thought I’d do one last post of great moments with fictitious movie bands inspired to some degree by “Get Him to the Greek” which reminds us that rock and roll and pop music is, as often as not, mostly about just having a good time, and that’s more than enough reason to keep going.

First, a brief reminder that “That Thing You Do” had music in it aside from the title tune.

Young Andrew Strong and company pay tribute to the Wicked Pickett in “The Commitments.” (Oh, and if you’re at work or around the kiddies, be aware, there’s a stray Irish-style F-word or two near the beginning and at the very end of this clip that could catch you by surprise.)

Special bonus video after the flip.

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The pimp and the hippie

Since “Get Him to the Greek” has been on our mind lately, and if you haven’t read my mammoth press day interview thingy with cast members Russell Brand, Jonah Hill, Rose Byrne, and writer-director Nicholas Stoller you may do so now, or at your leisure. I’m also happy to report that, whatever the recently returned Nikki Finke is saying, it’s doing somewhat better than expected and defeating the really horrid looking (and, not surprisingly, horribly reviewed) “Killers” as of this moment at the Box Office.

Be that as it may, inspired by a fun piece over at the Playlist on fake bands from movies, along the lines of Aldous Snow’s Infant Sorrow from “Greek.” This weekend, I’ll be presenting some great moments with great fictional cinema bands. I’ll lead with one of the best moments from 2004’s “Hustle and Flow.” I think this was the moment I realized what I was watching was going to be a little more like “The Commitments” and a little less like “Superfly” when I saw it cold at Sundance. (Did I really declare it “the sweetest pimp movie of all time”? Oh, I was young and foolish then.) Since this is a rap tune created by an actual, fictional, pimp played by Terrence Howard, all the usual work-related provisos apply. Also, I wonder about those subtitles on the video. Just how do you translate “Whoop That Trick” into Greek? For that matter, how do you translate it into English?

And now for something completely different. A lot of you are probably familiar with the gay Hitler from the musical version of “The Producers” but fewer of you may know the hippie Hitler played to insane perfection by Dick Shawn in Mel Brooks 1968 original comedy cult-classic. Here, Lorenzo St. Dubois, call him “LSD” for short, sings “Love Power” and grabs the Broadway glass ring with the help of his all-female back-up band.

  

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Celluloid Heroes: Eight Musicals of the 21st Century

A funny thing happened this decade — the once dying genre of live-action movie musicals seems to have returned to the movie repertoire. As the decade closes, I can think of exactly two major westerns, but I keep remembering musicals that I should consider for this piece (including the mostly well-regarded French musical “Love Songs,” which I forgot to see before writing this, je suis désolé).

As a lifelong fan and a nearly lifelong tough critic of musicals, I love most of these films. However, this list is not so much a traditional “best of” and I’ve included one choice I definitely don’t like. (It won’t be hard to guess which.) These are musicals that I think contributed to the development of this polarizing and hard to pull off genre. They don’t hark back to times gone by or try to recapture a past glory that will never return, but actually take us into the future. That’s important now that musicals seem to have a future.

“Dancer in the Dark” (2000)

Earlier this year, the brilliant but often irritating Danish director Lars von Trier shocked hard-to-shock European festival audiences with graphic sexual violence in “Antichrist.” Back in 2000, all he needed to divide audiences was some really intense melodrama and an approach to making dark musicals partially borrowed from TV creator Dennis Potter (“Pennies from Heaven,” “The Singing Detective”).

Featuring a literally once-in-a-lifetime lead performance by singer-songwriter Björk as a young mother ready to sacrifice everything to save her son’s failing eyesight, “Dancer in the Dark” is maybe the most emotionally potent story of parental love I’ve ever seen. As a musical, it’s strange and arresting.

Like the Potter television shows and movies and “Chicago,” further down the list, the musical numbers take place in the mind of the lead character. In this case, however, it is particularly poignant as our heroine is a fan of musicals who, though she is gradually going blind, is attempting to appear in a community theater production of “The Sound of Music.” Below, she musically confesses her situation to a smitten Peter Stormare (yes, the guy from “Fargo”). Lumberjacks or not, “Seven Brides for Seven Brothers” sure seems like a long time ago.

Moulin Rouge” (2001)
As the non-musical Pixar films became the dominant template for animation and the musical form lost its last apparent movie bastion, big studios began to experiment with musicals starring humans. Unfortunately for me, the first and still one of the most popular of this decade’s high profile film musicals was Baz Luhrmann’s beautifully shot, amazingly designed, dull-witted, and over-edited “Moulin Rouge.”

Yes, this musical fan is not a fan of the musical that’s been credited with resurrecting the genre. Why? A couple of sequences work, but on the whole I expect the funny parts of a movie to make me laugh and, even more important, I like to see the movies I’m seeing. As far as I can tell, Luhrmann simply doesn’t have the confidence in this film to allow us time to view the arresting images he’s worked so hard to craft, nor does he permit time to actually see the hard work his dancers and actors put in. Editor Jil Bilcock is expected to do all the performing instead.

As for what Luhrmann and his arrangers did with the various classic songs they threw into a musical Cuisinart, the less I say about it the better. At the risk of sounding like a fogey (or a member of an 18th century Austrian court), too many notes. Way, way, way, too many notes. See if you disagree.

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