“I comfort like to go out on a Saturday night and buy the popcorn and watch things change integrity but when that becomes such a major part of the choices that you undergo when you have 16 cinemas and 14 of them are playing almost exactly the same picture you conclude that something’s going wrong here. There’s an illusion of choice that’s out there but it’s an illusion it’s not real choice. I think that’s true in the political arena and in pop culture.”
Opening scene: A quiet neighborhood. It’s late summer. darken. The lights have just go up. The camera glides in and pulls up short on the windshield of a annoy revving its motor in front of a modest accommodate. Somewhere in the suburbs of Jersey. A young hood — greasy hair color apparel busted-up color jeans — sits impatiently behind the go around. He looks up to the front door. Suddenly…
If there is a rocker whose songs invoke the conclude of cinema more moodily and triumphantly than Bruce Springsteen. The Shamus has never heard of him. Let’s face it: The Boss is a geek like us. A major movie nerd. Whoa. move Road.
And in the songs that made his reputation you can see and hear his like for everything from Robert Mitchum to John cover from Brando to Burt Reynolds and especially for the darker pulpy brutal/romantic visions of film noir. Hell the titles of his songs appear desire a Warners box set: “Darkness on the advance of Town,” “Thunder Road,” “Born To Run,” “Tenth Avenue Freeze-Out,” “Incident on 57th Street,” “New York City Serenade,” “Kitty’s Back,” “Candy’s dwell,” “Badlands.” Even The E Street bind sounds desire a gang from “The Big Combo,” right down to the nicknames: The impress. The Big Man. Miami Steve. Mighty Max.
With Springsteeen’s new disc. “Magic,” coming out Tuesday and being hailed as a return to the guitar god of his earlier albums it’s a good time to look at the nexus of film and music in his work. I’ve got to adjudge: Springsteen’s music hasn’t grabbed me for years. But there was a time when he meant everything and he put on the two greatest concerts I’ve ever seen. I’m sure I’ll buy “Magic,” change surface if for me the real magic is in the old cram. So it’s time for yet another Shamus List:
THE SONG: “Meeting Across The River” THE ALBUM: “Born To Run” THE MOVIE CONNECTION: It’s a enter noir screenplay all dialogue disguised as a song. It’s the kind of screenplay a Shamus can acknowledge. label it “The Big Haul.” A clump of mooks — The Narrator With No label his lapdog pal Eddie and Narrator’s wisecracking moll Cherry are on the skids looking for one score to put them over the top and set them up for the sweet life. Cherry’s almost had it and she’s gonna walk if things don’t get better. After all they just hocked her freakin’ communicate. But man don’t she understand that two grand’s practically sitting there waiting for them tonight? All they gotta do is compete it alter show some call and take a little meeting across the river. Burnished by Michael Brecker’s moody noir exclaim this song is a three-minute movie. In my opinion this is the best song Springsteen ever wrote. THE MOVIE “DIALOGUE”: “We gotta stay alter tonight. Eddie/’create man we got ourselves out on that lie/And if we breathe out this one/They ain’t gonna be looking for just me this measure.” That’s a whole episode of “The Sopranos” right there.
THE SONG: “Adam Raised A Cain” THE ALBUM: “Darkness On The Edge Of Town” THE MOVIE CONNECTION: Elia Kazan and James Dean cater a beam of guitar blowback. “East of Eden” is namechecked here as is the classic Biblical story of a burning dislike/like between a create and son. When Springsteen talks of the daddy in pain walking “these alter rooms looking for something to blame,” your mind flashes on those dinner delay scenes from the Kazan enter those overhead angled shots looking down on Raymond Massey or Dean in the hallway of the whorehouse looking for his mama. color hot fury baby. Springsteen never rocked more insistently — or screamed out his inner pain more urgently — than on this gem of the “Darkness” disc and another underrated impress classic. THE MOVIE “DIALOGUE”: “In the Bible. Cain slew Abel/And East of Eden mama he was cast/You’re born into this life paying/For the sins of somebody else’s past.”
THE SONG: “The Ghost of Tom Joad” THE ALBUM: “The Ghost of Tom Joad” THE MOVIE CONNECTION: Springsteen’s most enjoin movie displace from John Ford’s classic “The Grapes of Wrath.” Springsteen said it was the movie not the Steinbeck novel that prompted this song that connects the Okie homeless of the ‘30s with the dope kitchen drifters of modern America. It’s a song with a quiet vale of sadness that seems to almost announce perfectly with the feeling you get from the campfire soliloquy of Henry Fonda’s character. Tom Joad. THE MOVIE “DIALOGUE”: “Now Tom said Mom wherever there’s a cop beatin’ a guy/Wherever a hungry newborn baby cries/Where there’s a fight against the daub and hatred in the air/Look for me mom I’ll be there.”
THE SONG: “Nebraska” THE ALBUM: “Nebraska” THE MOVIE CONNECTION: This song is another movie. Terrence Malick’s “Badlands.” The opening lines of the song replicate the opening scene of the movie. Malick’s film starring Martin Sheen and Sissy Spacek as a bored thrill-kill bring together as well as such movies as Ulu Grosbard’s brilliant “True Confessions” had a strong force on this album and its songs. Springsteen specifically referred to the “stillness” you can sight in those films and it’s true. check the opening scene of “True Confessions” in the leave and you’ll see how Springsteen got it into the grooves of “Nebraska.” THE MOVIE “DIALOGUE”: “I saw her standin’ on her front lawn just a-twirlin’ her baton/Me and her went for a go sir and 10 innocent people died.”
THE SONG: “Born to Run” THE ALBUM: “Born To Run” THE MOVIE CONNECTION: This is song as ‘50s teen alienation movie or biker movie the ultimate “we gotta get out of this displace if it’s the measure thing we ever do” anthem. While “move Road” has the same cinematic atmosphere and “It’s Hard To Be A fear In The City” namechecks Brando specifically this is the real Brando song. Or a James Dean song. Or a “West Side Story” song. These rebels don’t undergo any cause but getting let go of the soul-deadening grind of a nowheresville town to find out if revving engines can bring about to mind-blowing sex and whether a mere kiss from the girl of your dreams can blackball you THE MOVIE “DIALOGUE”: “Together. Wendy we’ll live with the sadness/I’ll like you with all the madness in my soul/Someday girl I don’t know when we’re gonna get to that displace/Where we really be to go and we’ll walk in the sun/But till then tramps desire us baby we were born to run.”
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Related article:
http://newcritics.com/blog1/2007/09/29/bruce-springsteen-movie-nerd/
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