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Friday, Jan 4, 2008


Call it reverse retro - something so endemic of its time or place that it transcends nostalgia to become a definitive cultural statement. Every medium has them - from the brazen blaxploitation films of the ‘70s to the sublime synth pop of the ‘80s. No other era has as many ethereal examples as the ‘60s however. As a decade noted for its artistic reinterpretation, where nothing was sacred and everything was subverted, old war horses and sacred cows got the aesthetic agriculture taken out of them. Nowhere was this truer than in television, where sitcoms and the writers who created them tried to undue years of formulaic funny business. From monsters to musicians, it was a creative temperament ripe for the reimagining.


One of the best one’s ever to fool the format was Get Smart. Conceived by comic legends Mel Brooks and Buck Henry as part of a one off speculative deal, this silly spy spoof featuring the world’s dumbest secret agent lasted five fascinating years. It also rewrote the entire decade’s agenda on how serious subject matter could be mimicked and mocked. Now available is an exemplary complete series set from Time Life DVD (this is how all TV shows should be handled), revisiting this emblematic entertainment proves the backwards revisionism theory. It is less like a trip down memory lane and more like the discovery of the perfect counterculture confection.


For those unfamiliar with the show (it’s been in and out of reruns for quite a while), the set up is simple. Maxwell Smart, codenamed 86, works for CONTROL, a government intelligence organization battling the forces of geo-political complexity and international evil. Answering to the tough but genial Chief, and typically paired with leggy female cohort 99 (whose name is never revealed), the duo regularly take on KAOS, a band of nogooniks led by Mr. Big and overseen by Vice President of Public Relations and Terror, Siegfried. Though they are sworn enemies, Max and his nemesis enjoy a surreal mutual admiration society. Oddly enough, there is respect and honor among these stunted secret agents. Along with the standard menagerie of villains, sidekicks, and one-off helpers, we meet unlucky android Agent Hymie, the mysterious Agent 13 (who communicates with CONTROL from unusual locations like lockers and mailboxes), and Fang, the bureau’s asthmatic dog.


Over the course of 138 episodes and two networks (it originally began airing on NBC, but ended its run with a single season switch over to CBS), the spy vs. spy tomfoolery used gadgets, goofiness, and some good natured lampoonery to create its weekly 26 minutes of mirth. Some of the most memorable visual jokes included the top secret Cone of Silence (a device which supposedly allowed conversations to go unheard), Max’s classic shoe phone (complete with heel receiver and instep dialer), and various incognito guns. The numerous James Bond knock-offs, usually applied more for comic than crime relief, became iconic for series’ devotees. They also helped the show successfully focus as much on the actual genre being tweaked as well as jibing to the archetypes within it.


Thanks to Sean Connery and his amazing machismo magic, the ‘60s was awash in kitsch crazy spy stuff. Film was constantly on the make for another franchise icon (Flint, Helm) while TV also found a wealth of espionage angles with dramas like The Man from U.N.C.L.E. and Mission: Impossible. Get Smart was one of the few attempts at bridging the increasing clichés already forming to manufacture something original inside the formulaic and familiar. As one follows the episodes offered, through first season highlights like “Satan Place” and “Survival of the Fattest” to last act offerings like “Apes of Rath” and “And Baby Makes Four”, we see the growth of the characters, the creation of network mandated narrative constants, and the development of seminal series catchphrases - “missed it by that much” and “would you believe…?” - that became cult fad fodder.


To call the show uneven would be stating the obvious. Fans can probably pinpoint the moment the ingenuity became to wane - perhaps with the required wedding of 86 and 99, or the last season decision to have them procreate. But for the most part, the inventive internal aspects of the series, as well as the external elements of the experience (changing social dynamics, growing political unrest) keep it fresh and original. While it’s impossible to evaluate all fives series and 138 episodes, it’s clear that, as an example of TV’s attempts at battling cinema’s anti-studio system rebirth, Brooks and Henry were on the right track.


This is pop art parody of the highest order, a veritable trip back in time to the slapstick slickness of the swinging ‘60s. The look of the show combines conservative government bureaucratics with hipster bachelor padding. Everyone smokes, and they smoke A LOT. Sunglasses are statements of the sinister and the suave, while 99’s dresses run the dramatic gamut from Carnaby Street minis to natty New York maxis. Without directly addressing the ever-changing face of the era, we get hints of hippies, lots of Cold War mongering, the slightest slip into psychedelia (the sets are always amazing), and enough pseudo slick lingo to fill the mind of an amiable and impressionable audience.


The acting, of course, made the experience and it remains, without a doubt, exceptional. Though he was hired mostly due to an outstanding contract he had with the network, Don Adams proved to be an invaluable piece of the puzzle. He literally steals every scene he is in as Smart, whiny wisenheimer voice hiding an equally wimpy work ethic. Using some of the material he honed as part of his stand up routine, and a great deal of improvisational grace, he became the satiric standard bearer for most of the decade’s sprawling spy fascination. In fact, it’s safe to say that without Maxwell Smart, the uneven farce of Casino Royale would never have been fathomable, let alone possible.


Equally alluring in wildly different ways is Barbara Feldon as 99. As enigmatic as she is predictable (her crush on 86 is evident from the earliest episodes), the character cuts a swatch that balances out much of Get Smart‘s surreality. Like the calming centering of a constantly out of whack storm, she comes across as sexy and smart, easily understood and never off the handle. Indeed, if Feldon had been given a more prominent role, she could have turned the show semi-serious, which would never have worked. But thanks to her classiness, her deft comic timing (she was great with a joke as well), and the chemistry she shared with everyone from Adams to Edward Platt (as the omniscient Chief) she transforms the obligatory Emma Peel eye candy role into something quite special.


Indeed, that’s the best way to describe Get Smart in general. It’s an amalgamation of incongruous elements that shouldn’t really work together yet somehow, do. It’s the perfect incorporation of the dumb with the discerning, the improbable with the imaginative. Of course, it takes tons of talent to pull this off, and from Brooks and Henry in the background (between them, both wrote dozens of episodes) to standard day to day production players like scribes Chris Hayward, Leonard Stern, and Arne Sultan, this was unconventional TV from standard boob tube scribblers. Add in the fringe turns, the wondrous non conformity in disguise of Dick Gautier as Hymie, the various nefarious villains played to perfection by such stalwarts as Bernie Kopell (Siegfried), King Moody (Shtarker), and Milton Selzer (as double agent Parker), and the various guest turns (Johnny Carson, James Caan, Don Rickles), and you’ve got a concept with enough creativity to carry it through even the toughest times.

As for the tremendous Time Life DVD compendium, it’s a veritable treasure trove of discoverable delights. Divided up by season, both Brooks and Henry add a commentary to the pilot, while Feldon offers her thoughts on Episode 17 - “Kisses for Kaos”. Disc five of the first set contains nothing but extras, including interviews, promos, TV appearances, reunion footage, bloopers, a documentary, and an interactive feature. It’s the same packaging paradigm that is carried over onto each additional season in the box. Other highlights include 1967 Emmy Broadcast material, NBC memos (both from Season 2), commercials, current cast interviews (Season 4) and a memorial to the late Don Adams (Season 5). Each collection also contains a booklet providing context and scope, and the transfers in general are terrific - bright, colorful and loaded with era-defining detail.


Oddly enough, Smart was one of the few ‘60s shows that did not translate well when it was inevitably updated. The 1980 big screen version, entitled The Nude Bomb, was a major critical and box office disappointment, while the 1989 TV movie Get Smart, Again! was slightly more winning. It led to an attempted revamp by Fox with Andy Dick as Smart and 99’s son (it lasted seven uneven episodes). Now, Hollywood has again come calling, placing comedic flavor of the moment Steve Carell in the role of Smart, with Anne Hathaway as 99, and Alan Arkin as The Chief. The preview trailer tells little about how successful this update will be. The goofiness is there, but the original Adams/Feldon spark appears absent. Until then, we have this remarkable overview to remind us of how the right combination of ability and anarchy can merge to form an almost effortless entertainment. Like other examples from the time - The Addams Family, for example - the sum of Get Smart is uniquely equal to its many magnificent parts. It remains a seminal spy spoof sitcom. 


 


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Friday, Jan 4, 2008

There will be no more memoirs of the life of Brigadier-General Sir Harry Paget Flashman, VC, outstanding Victorian soldier, coward, bully, womaniser, cad, bounder and hugely admired all-round bad egg. George MacDonald Fraser, chronicler of the great man’s life and editor of his copious personal papers, has died at the age of 82 after losing a battle with cancer but winning a substantial literary reputation and a worldwide army of devotees.




The Times reports here, while NPR has a moving tribute by OED editor, Jesse Sheidlower here.


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Friday, Jan 4, 2008

Thanks to Art of Noise for that title.  In a series of articles for CNET, a former Washington Post writer rips a current WP writer for taking shortcuts in an RIAA story, which claimed that the hated music industry scourge was saying that customers ripping CD’s is illegal.  While Marc Fisher’s original story did seem to cut corners about what the RIAA was claiming was legal or not (ripping is illegal if it’s then shared on a P2P service), I also wonder about the vitriol the CNET writer levels against Fischer while letting the RIAA have as much say as it likes to defend itself.  Note this segment in particular:


“Here was an opportunity for (RIAA prez Cary) Sherman to declare once and for all that copying CDs for personal use is lawful. He stopped short of that, saying that copyright law is too complex to make such sweeping statements. He did state that there is one full-proof way of discovering the RIAA’s policy on personal use: check the record.” 


For the rest of the article, the RIAA gets the benefit of the doubt while Fisher is hung out to dry but note that Sherman has to still weasel his way around this issue as if to say that in fact, the case ain’t closed about this.  That would even go back to Fisher’s original claim that the RIAA is not in fact cool with ripping or at least they refuse to go on record to counter that.  The CNET article notwithstanding, the RIAA’s rep is still in the mud, even if they cry about being misquoted.  They have themselves to blame for suing thousands of people in questionable lawsuits.


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Friday, Jan 4, 2008

This recent post by Nicolas Carr, about Amazon’s vaguely creepy “Askville” campaign—a World of Warcraft-like scheme in which consumers win virtual money for use in Amazon’s virtual world by supplying real world tips and facts—offers another way to explain the point I was fumbling toward in the previous post. Carr, a techno-skeptic who generally sees nothing especially liberating about the internet, details a long-running debate he has had with Yochai Benkler, author of The Wealth of Networks, who touts the internet’s transformational possibilities.


In July of 2006, I entered into a quasi-wager with Yochai “Wealth of Networks” Benkler about the ultimate economic structure of the most popular social media sites. I predicted that the dominant sites would pay for their content - that they would, in Benkler’s terms, be “price-incentivized systems.” Benkler predicted that the sites would be pure “peer-production processes” existing outside “the price system.”
So what happens if people get paid with virtual gold: Is that price-incentivized or not? I would argue that it is. If you’re working for gold, whether real or fake, you’re putting a price on your labor. I mean, if you take beads in trade for something of value, then the beads are money, right? But of course I’m biased, being a participant in the wager. Maybe Benkler would argue that fake gold is more like a token of esteem or a gift of the heart than like a wage.
One thing’s for sure, anyway: If you can pay your workers with virtual money, you’ve got a helluva labor strategy.


Yesterday I was trying to make the case that we are conditioned to be price-incentivized, and this makes it hard for us to process culture that’s not assimilable to that logic; we tend to import market thinking to our manner of appreciating culture, even when the cultural is not distributed through a market, or produced with profit incentives in mind. Carr seems to consistently argue that non-financial incentives are illusionary, utopian, or really monetary motives in disguise, and I’ll admit that this sort of cynicism rings true to me. But then I wonder whether if that case holds true only for firms and doesn’t necessary apply to individuals, who are more flexible in their motives, and can win in other ways than registering profits. People clearly are willing to work at public tasks not for money but for inclusion, recognition, and the sheer pleasure of social participation. It may be that people like integrating themselves into networks not necessarily with a view to any definite advantage, but for its own sake, out of a species-driven urge toward gregariousness. Being a part of a network for its own sake is at least as plausible as accumulating money for its own sake.


Anyway, Carr is mainly concerned with production: Can you extract quality without paying for it through the sheer size of a network? This is sort of a belief that a million monkeys gleefully and spontaneously typing online will ultimately produce Hamlet, even if each monkey only contributes a word. Yesterday I was wondering about consumption, and whether we need price incentives to motivate us to consume, to cue us to the value of what we might consume and to give us a framework for manufacturing desires. Or could some networked system of peer recommendation replace prices as cues to what culture is valuable? Also, will we be able to conjure limits for ourselves in the absence of cultural scarcity, a condition that was created by the transformation of cultural activity into a product. In other words, is the internet decommodifying artistic production, leading to new (or a return to old) ways to experience cultural phenomena?


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Thursday, Jan 3, 2008

When we think about soundtracks, it is impossible to avoid bringing up the names of the giants in the field: Jerry Goldsmith, John Williams, John Barry, Ennio Morricone, and Bernard Herrmann, to name just a few. Unfortunately, such a bias tends to affect our listening habits, and we often ignore the new voices that emerge from the film music community every year. And this is a real shame, as truly innovative and high quality scores have recently been made by newcomers who may lack the fame, but have the talent necessary to create blissful music. In an attempt to correct this situation, the current installment of Surround Sound will review some recently released soundtracks that feature sublime music made by relatively new talents.


30 Days of Night - Original Motion Picture Soundtrack [rating: 8]


In spite of its detractors, the cinematic adaptation of the groundbreaking graphic novel by Steve Niles proved to be an entertaining and intriguing horror flick. Directed with a good sense of pace by David Slade, 30 Days of Night offers a truly nightmarish situation. As the title suggests, in the small town of Barrow, Alaska, the longest night of winter lasts 30 days (in reality it takes 65 days, but I guess Niles thought that 30 made a better title than 65). This long period of time without sunlight is used by a clan of vicious vampires to kill and feed with equal gusto. As a handful of survivors manage to take shelter in a claustrophobic attic, the movie turns suspenseful and ominous. Featuring gruesome visual effects, an absorbing storyline, awesome cinematography, and decent characterization, 30 Days of Night is one of the best horror offerings released in 2007.

The creepy music for 30 Days of Night by Brian Reitzell nicely fits the onscreen horrors and mayhem. Even though this is only Reitzell’s third score (following Friday Night Lights [2004] and Stranger than Fiction [2006]), he magnificently knows how to provide an aural atmosphere that will support the development of the narrative. A former drummer with rock bands, Reitzell followed a truly unusual approach to create the eerie score for 30 Days of Night. Indeed, besides using traditional digital instrumentations, Reitzell produced unsettling noises by manipulating a fast spinning pottery wheel that he bought at the local Home Depot. The result is a cacophonic, non-melodic musical soundscape that aptly captures the violence, otherness, and gruesomeness of the terrifying blood suckers. It may not have sophisticated compositions, instrumentations, or musical structure, but nevertheless the soundtrack of 30 Days of Night remains original and effective.


In the Shadow of the Moon - Original Motion Picture Soundtrack [rating: 7]


A beautiful documentary that showcases probably the greatest achievement of mankind, In the Shadow of the Moon narrates the dramatic events that culminated with astronauts Neil Armstrong and Buzz Aldrin walking on the lunar surface. The film not only uses stunning materials from NASA archives, but it also brings together some of the astronauts that participated in the Apollo program. Some of the legendary astronauts featured in the movie include Jim Lovell (Apollo 8 and 13), Dave Scott (Apollo 9 and 15), Buzz Aldrin (Apollo 11), and Gene Cernan (Apollo 10 and 17). Unfortunately, the recluse Armstrong does not provide his personal reflections of such a groundbreaking event. As this flick confirms, even after nearly 38 years, the landing on the moon continues to be an awe-inspiring and breathtaking accomplishment.


The beautiful music for In the Shadow of the Moon composed by Philip Sheppard reflects the epic magnitude of the conquest of the moon. Composed for full-sized symphonic orchestra, choirs, and electronics, this soundtrack is heroic at times, and enigmatic at others. The track “The Eagle has Landed”, for instance, uses overwhelming Americana sounds that bring to mind the frontier mentality. On the other hand, “X-15 Jet” uses minimalist arpeggios that reveal the tenacity of mankind to understand the universe. The second soundtrack commissioned to Sheppard, In the Shadow of the Moon showcases his eclectic education and sensibility for classical music. A respected cellist, Sheppard heavily uses the ominous sounds of this instrument on his compositions and orchestrations. Overall, even though the soundtrack for In the Shadow of the Moon is not as majestic as Bill Conti’s The Right Stuff (1983) or James Horner’s Apollo 13 (1995), it still delivers a beautiful musical background for unforgettable images of human endurance and perseverance.


Lust, Caution - Original Motion Picture Soundtrack [rating: 9]


The latest film by acclaimed director Ang Lee, Lust, Caution is a charged thriller set in an exotic-looking Shanghai, and takes place during the torrid years of World War II. This film tells the story of a woman who is swept into a dangerous situation with a prominent political figure. Espionage, intrigue, eroticism, and romance characterize Lee’s movie, which is based on the short story written by the highly praised Chinese author Eileen Chang. Featuring the histrionics of Tony Leung and Tang Wei, stunning cinematography by Rodrigo Prieto, and incredible production design by Lai Pan, Lust, Caution is an elegant flick that brings to mind the alluring works of Kar Wai Wong.

Perfectly matching the delicacy and exoticism of Lust, Caution is the gorgeous score composed by Alexandre Desplat. Even though Desplat has been composing film scores since the early 1990s in his native France, he only came to international prominence very recently, with his work for English-language movies such as Birth (2004), Syriana (2005), Firewall (2006), and The Queen (2006). Desplat’s inspired orchestral compositions for Lust, Caution prominently use a melodic piano to underscore the drama and the romance, while a solo violin and accompanying strings are used to convey the suspense and scorching political landscape of the locale and time period. The musical duality of Desplat’s score is very expressive, features elegant instrumentations, and manages to provide a pleasing listening experience on its own.


Reservation Road - Original Motion Picture Soundtrack [rating: 6]


Upon its original release, this film was celebrated as an effective dramatic thriller directed by two-time Academy Award writer and director Terry George. Reservation Road tells the heartbreaking story of two fathers and their families, and how their lives suddenly converge after a tragic car accident claims the life of a young child. This is a moody movie that deals with some of the darkest feelings from the human heart such as resentment, retribution, grief, hatred, and unbearable guilt. Featuring an outstanding cast led by Jennifer Connelly, Mark Ruffalo, Joaquin Phoenix, and Mira Sorvino, Reservation Road is a truly emotional flick.

Composed by the celebrated Mark Isham, the soundtrack for Reservation Road is as bleak and gloomy as the movie itself. For some strange reason, even though Isham has scored over 100 movies, he has never achieved the stratospheric levels of popularity that characterize Williams or Goldsmith. Still, Isham’s work for Reservation Road shows what a great musician he is. For this movie, Isham uses a small instrumental ensemble as well as keyboards and other electronic gadgets. Incessant electronic percussions, a sax, an oboe, and a clarinet offer an aural soundscape that conveys sorrow. Placing mood and atmosphere over melody, Isham delivers a haunting score that faithfully reflects the anguish and distress of the characters.


Superman: Doomsday – Original Soundtrack Recording [rating: 7]


Based on the bestselling series of comic books from the early 1990s, Superman: Doomsday presents the tragic story of the death, funeral, and resurrection of the indefatigable Man of Steel. Of course, as it was eventually revealed, this milestone in the history of the comic book industry was more a calculated ploy to increase sales than an artistic compulsion to explore a world without Superman. But nevertheless, not completely faithful to the original source, this animated movie tells how Lex Luthor’s LexCorps accidentally releases an intergalactic creature aptly named Doomsday. The ensuing battle between Doomsday and Superman reaches epic proportions, and culminates with the death of the quintessential American hero. Featuring the voices of Adam Baldwin, Anne Heche, and James Marsters, Superman: Doomsday is fun escapism if not much else.


The composing duties for Superman: Doomsday fell in the able hands of Robert J. Kral, who already had shown sensitivity for dramatic and action oriented scores with his work for the popular TV series Angel (1999-2004). Perhaps the greatest challenge confronted by Kral in scoring Superman: Doomsday was to follow the giant footsteps left by Williams with his unforgettable music for the original Superman (1978). To this end, Kral created a new heroic theme for the Man of Steel, which, even though it lacks the acoustic strength of Williams’ composition, it still delivers a musical punch. Kral’s score combines high and minor chords, and aptly balances action, suspense, and pathos. Quite unfortunately, Kral performed his music with electronics and synthesizers instead of a real orchestra, and the limits of the technology are often revealed during his more majestic compositions.


Things We Lost in the Fire - Original Motion Picture Soundtrack [rating: 5]


In this dramatic film, Audrey Burke (Halle Berry), a widow, befriends Jerry Sunborne (Benicio del Toro), the troubled best friend of her recently deceased husband. As Jerry finds his way back in life, he also helps Audrey and her two sons to cope with their grief and confront their loss. Directed with flair by Danish filmmaker Susanne Bier, and featuring powerful performances by the leading stars, Things We Lost in the Fire presents a heartbreaking story of great sorrow and unbearable anguish, but also of immense hope.

The bleak soundtrack for Things We Lost in the Fire was composed by Gustavo Santaolalla and Johan Soderqvist. However, in spite of the alleged collaborative effort, the musical structure feels rather similar to Santaolalla’s Babel (2006) and Brokeback Mountain (2005). That is, the music for Things We Lost in the Fire is minimalist and mostly made of guitar snippets with infrequent harmonies provided by a small orchestral ensemble.  Lacking major themes and melodies, the lonely guitar in the score effectively provides an atmosphere of lamentation and sorrow. However, while the music is effective within the context of the film, those detractors who have questioned in the past the musical abilities of two-time Academy Award winner Santaolalla are not likely to change their mind after listening at his work for Things We Lost in the Fire.


Hollywood’s Greatest Hits: Classic Music From the Movies [rating: 6]


Arguably, the big problem with “Best of” compilations of film music is that, more often than not, we get the exact same pieces. Indeed, most of these collections feature nearly identical excerpts from John William’s Star Wars (1977), Maurice Jarre’s Lawrence of Arabia (1962), Miklos Rozsa’s Ben Hur (1959), Ernest Gold’s Exodus (1960), and Jerry Goldsmith’s Star Trek (1979). And even though these are undisputable landmarks of the genre, even casual fans probably already own the original releases. Therefore, Hollywood’s Greatest Hits: Classic Music From the Movies is highly commendable because it offers an eclectic selection of high quality film music that is rarely brought together in this type of compilation.


Hollywood’s Greatest Hits offers awesome film music that most casual fans probably have not had a chance to hear before. Some excerpts found on this outstanding 2-CD collection include John Addison’s A Bridge Too Far (1977), Ron Goodwin’s Battle of Britain (1969), Franz Waxman’s Taras Bulba (1962), Mario Nascimbene’s The Vikings (1958), Bronislau Kaper’s Mutiny on the Bounty (1962), and Nino Rota’s Roma (1972). Unfortunately, these are not original recordings, but re-recordings played by the Czech Philharmonic Chamber Orchestra. And even though the performance of the orchestra is top-notch, some instrumentations and arrangements may sound a bit off the mark for those connoisseurs who are familiar with the original recordings. But nevertheless, featuring 47 tracks this compilation is likely to offer something new for everybody, and perhaps inspire the search for the original recordings. Personally, listening to the excerpt from Geroges Delerue’s Viva Maria (1965) was a true revelation to a beautiful score I was not familiar with.


The Nanny Diaries - Original Motion Picture Soundtrack [rating: 1]


The stunning Scarlett Johansson may well be the only reason to watch The Nanny Diaries, an uninspired comedy directed not by one, but two directors, Shari Springer and Robert Pulcini. In this flick, Johansson plays the role of Annie Braddock, an aspiring anthropology student who has to work as a nanny for an obnoxious wealthy family to support herself.

The soundtrack for the Nanny Diaries is made up of popular songs, and quite frankly, it is thought provoking. Indeed, after listening to it, one wonders how a major film would be accompanied by such a lame compilation of uninspired songs. Perhaps with the sole exception of WAR’s timeless classic “Why Can’t We Be Friends”, all the other songs are not that good. As such, it is very difficult to envision why anybody would like to purchase such an insipid soundtrack.


The Ten - Film Soundtrack [rating: 3]


David Wain’s amusing comedy is made of 10 vignettes, each of them telling a story of what happens when different characters break each of the Ten Commandments. Even though it brings to mind the wacky situations and narrative structure that characterized Monty Python’s The Meaning of Life (1983), The Ten feels refreshingly original. As an added incentive, The Ten features three of the hottest girls from Hollywood, Jessica Alba, Femke Janssen, and Winona Ryder. Towards the film’s end, rather bizarrely, all the interwoven stories culminate with a climatic song and dance cavalcade in the inimitable style of 1940s Hollywood musicals.

The soundtrack for The Ten was composed by Craig Wedren, who also composed the music for Wain’s previous flick, Wet Hot American Summer (2001), and the short lived TV series The State (1993). The music is fitting for the film, and equally multifaceted. From an epic opening in “Fanfare”, to Latin rhythms in “Mexico” and country-style music in “Goof/Prison”, Wedren shows a noteworthy musical background and sensible artistic inspiration. Unfortunately, some of the songs featured on the soundtrack CD are interrupted with snippets of dialogue from the movie. Overall, in spite of its underscoring achievements, The Ten may prove to be a soundtrack that is difficult to be listened on its own.


 


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