Tag Archives: Christopher Walken

Rocks In The Attic #693: John Barry – ‘A View To A Kill (O.S.T.)’ (1985)

RITA#693.jpgJames Bond, 007, British Secret Service, licensed to kill, fifty-seven years old.

Roger Moore is so old in this, his seventh and final outing as James Bond, that he was only prompted to give up the role due to an off-screen discussion with Bond girl Tanya Roberts. Moore discovered that he was the same age as the actress’ mother, and so finally realised that it was time to hang up his tuxedo for good. It’s was fortunate he did, as things were starting to get a little creepy. Before Bond finally seduces Stacy Sutton in the – ahem – climax of this film, he tucks her into bed during the film’s bloated second act. Ugh.

By the time of this, the fourteenth official Bond film, it had become very hard to take 007 seriously. Not only do we see Bond parading around with a girl old enough to be his daughter, but the writers take the character further and further away from Ian Fleming’s original secret agent. Prior to Bond tucking Sutton into bed, he bakes her a quiche. I swear I’m not making this up.

Christopher Walken does a nice turn as the villainous Max Zorin – a role originally turned down by both David Bowie and Sting. It’s actually a shame that Walken took the role, as it looks like the producers were offering it to every 1980s British rock star. Personally, I would have liked to see Phil Collins or Peter Gabriel battle Bond for world domination. Sledgehammer, in particular, would have made a great Bond theme – and a great film title.

Hit: A View To A Kill – Duran Duran

Hidden Gem: Snow Job

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Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton