Monthly Archives: August 2021

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Explosions In The Sky announces new soundtrack album and shares “Climbing Bear”

Explosions In The Sky is set to make the soundtrack for an upcoming nature documentary on PBS on their home state of Texas.

The band recorded a new album ‘Big Bend (An Original Soundtrack For Public Television)’ to accompany the documentary, titled Big Bend: The Wild Texas Frontier.

The soundtrack is slated for release on October 1 and to preview the record, the band shared their debut single, “Climbing Bear”.

Tune in to “Climbing Bear” and check out the “Big Bend (An Original Soundtrack For Public Television)” songlist below.

01. ‘Chisos’
02. ‘Climbing bear’
03. ‘Spades’
04. ‘Spring’
05. ‘Fly’
06. ‘Camouflage’
07. ‘Swimming’
08. ‘Stories in stone’
09. ‘Summer’
10. “Nightfall”
11. “Owl hunt”
12. “Sunrise”
13. “Big horns”
14. ‘Autumn’
15. ‘Cubs’
16. “Pale bats”
17. “The legacy of the rains”
18. “Bird family”
19. ‘Winter’
20. ‘Human history’

A synopsis for Big Bend: The Wild Texas Frontier reads: “In a journey narrated by Thomas Haden Church (Next to, Divorced), discover Western dramas told by the animals themselves.

Showcasing the natural magic of Big Bend over the course of a year, the film searches for its secret places and wild creatures, including many species of birds, butterflies, bats, reptiles, cacti and scorpions. . Big Bend is home to a greater variety of these creatures than almost any other US national park.

Explosions In The Sky’s most recent album was released in 2016 with ‘The Wilderness’. Since then, they have celebrated their 20th anniversary as a band in 2019 by going on an anniversary world tour, including a date in London at Hammersmith Apollo, and sharing re-released versions of a number of their classic albums.


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Extremely predictable storyline kills the game – The New Indian Express

Express news service

A poisoned heart is a heart without honor. When he pumps his poison through his veins, death and destruction seem inevitable. Karuna Kumar’s Sridevi Soda Center is well-intentioned in telling a story with this idea at its heart.

The film follows Lighting Soori Babu (Sudheer Babu), a lighting technician in a small town, who falls in love with Sodalu Sridevi (Anandha), a upper caste girl. Their quest for love comes up against seemingly insurmountable obstacles in the form of Kasi (Pavel Navageethan), who also has an eye on Sridevi, and Sridevi’s father (Naresh), who is against intercast marriage.

Karuna Kumars takes her time to set up the first act. While the first 40 minutes go by at an excruciating pace, the path the story has taken from there justifies the length. Even a terrible boat race, which will easily win the prize for the most unrealistic returns in racing history, is enough to establish the equations between the characters. Plus, Sudheer, who looked flat in the first few scenes, ended up settling into his character. Additionally, Anandhi is presented through a brilliantly put together scene at a carnival, and everything in the scene is “charming.” The comedy and dialogue work, and the writing does a great job of leading the scene to a heart-wrenching ending that pulls the events together, before heading into conflict.

In retrospect, however, the revelation of the association between Sridevi’s father and Kasi might have been delayed, as it already reveals more than it should. The glaring hollows in the writing extend further. In particular, there is a scene between Soori and Sridevi that takes place in the middle of a farm. Sridevi expresses his love through an act of seduction – an explosion of love that comes after the sight of Suri engaging in physical self-harm. The scene stands out, once again, for the scenography and the brilliant musical score of Mani Sharma.

However, it made me wonder if the act of self-harm was necessary. Why do we have to play a sinister sympathy game to win the love of our beloved? Beware, this is not a gray undertone that is deliberately added as a trait of Soori, but rather an act that is vindicated by the soothing music and Sridevi calling it an “expression of love”. It is shocking to say the least.

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Soori has a few flaws, but this doesn’t translate to the screen and is left to the audience’s appreciation. For example, in a later scene near the end, his friend helps him realize how obsessed he was with his quest for love without even thinking about the consequences his father would have suffered. It ends with a one-off dialogue, and he suffers no consequences due to his negligence and impulsive actions.

In another scene, Soori must complete a unique trick to escape prison. While the “how” sounds impressive, it leaves largely gaping questions unanswered. The Sridevi Soda Center begins to collapse even more since the start of the conflict. One of the revelations from the third act prompts Soori to mock Kasi. It’s an obvious idea that you would have guessed in the first act. As for the big final reveal, the obvious is overshadowed by the heartbreaking gloom it delivers. All the hiccups melt away in these final minutes when the film takes on an intense tone to deliver a vital message about the repercussions of the social evil called caste.

What’s disappointing is that the film has a lot of promise and scope that is underused. For example, the character design is awesome. From Soori’s costumes to behavioral traits added to Naresh’s character – he mumbles inaudibly whenever he’s forced to be in an awkward situation – Karuna’s world has plenty of interesting ideas to get our attention. Even if not for the genre, Anandhi’s character design, the setting of a small town and his equation with his beloved father who reminds him of “Vaadu manchivaade, Kaani manavaadu kaadhu” (This is a good guys, but not one of us) might all recall one of Anandhi’s Tamil movies, Pariyerum Perumal.

However, for a film that goes by the name of Sridevi, she hardly has a say in the second act. When Soori suffers such and such consequences, what does Sridevi even think there? We never know. Pavel’s Kasi unfortunately also becomes a helpless villain in the end.

In a film with so many misfortunes, Mani Sharma steals the show through his brilliant musical scores. Its delightful use of flutes for such a story with a rural backdrop is reminiscent of Sairat, another Dalit film that was about caste oppression. From the background theme we hear when we see Soori for the first time to the theme that plays out in the last shot of the movie, the music is composed so tastefully that it ends up being the biggest takeaway.

If the music played a major role, the scenography, the lighting and the cinematography, make this uninviting film a pleasant experience. At the end of the day, as one steps out of the theater, a convincing, climactic dialogue about who a man without honor really is leaves a strong impact. Well-intentioned ideas, strong distribution performance, and commendable manufacturing don’t help that Sridevi Soda Center is a non-sparkling soda.

Sridevi soda center
Actors: Sudheer Babu, Anandhi, Pavel Navageethan, Naresh
Director: Karuna Kumar


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The grim future of cinema in Afghanistan under the Taliban





Sat Aug 28, 2021 12:00 AM

“Hava, Maryam, Ayesha” by Sahraa Karimi. Photo: Collected

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“Hava, Maryam, Ayesha” by Sahraa Karimi. Photo: Collected

Following the repossession of Afghanistan by the Taliban, various filmmakers have sought to explain the fate of Afghan artists, in particular that of women.

Diana Saqeb Jamal, director of the Afghan-Bangladeshi short Roqaia, told Variety that she left her friends and family in Kabul and her belongings in her apartment. She compared her grief to the weight of the Hindu Kush mountains.

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Sahraa Karimi, director and head of the government company known as Afghan Film, explained that the Taliban are afraid of free thought, which particularly threatens the lives of artists. She fled the country safely with her family and two helpers in Ukraine.

“Kandahar” by Mohsen Makhmalbaf

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“Kandahar” by Mohsen Makhmalbaf

More recently, director Hassan Fazili, who is now in Germany, told The Times of India that art, cultural activities and cinema are doomed to destruction under the Taliban. Shahrbanoo Sadat, the Afghan filmmaker whose credits include the 2019 Cannes Directors’ Fortnight film “The Orphanage” recently successfully fled Kabul.

According to Variety, artists and civil society workers in Afghanistan are refraining from sleeping in their homes as they are now tracked down by Taliban militants with address intelligence technology. Sahra Mani, the founder of Documentary House, said intellectuals, filmmakers and artists had only two options: flee the country or be executed by the Taliban. It is very easy for them to track down female directors, whose numbers are as low as 10.

“Roqaia” by Diana Saqeb Jamal

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“Roqaia” by Diana Saqeb Jamal

The Taliban are a fundamentalist Islamic group, whose members were originally Mujahedin guerrillas, who fought the Soviet occupation of Afghanistan in the 1980s. The group gained momentum in the early 1990s over background of civil war against the Mujahedin.

In 1996, they captured Kabul, declared Afghanistan an Islamic emirate and imposed extreme measures such as widely banning the education and employment of women, music and television, and mistreating ethnic and religious minorities.

In 2001, the United States accused the Taliban of collaborating in the September 11 attacks by hiding Osama bin Laden, believed to be his master accomplice. After asking for evidence, the United States denied it, and within months the Taliban had been reduced to shreds by a campaign of American bombing. A new constitution based on the reformed constitution of the 1960s under the last king of Afghanistan was formed, which granted rights to women and ethnic minorities.

However, by 2006 the Taliban had recovered, with a mission to expel the United States. They were successful in 2021, which led to the withdrawal of American troops.

The Afghan film industry has been rejuvenated over the past decade with the help of a few women who have worked tirelessly and fought against obstacles. Their films mainly depict the life and daily struggles of Afghan citizens, especially women, in a country at war under the Taliban regime.

There are also many notable documentaries based on the US-Afghan War such as Zero Dark Thirty and Oscar winning Taxi to the Dark Side. Filmmaker and social activist Mariam Ghani, daughter of former Afghan President Ashraf Ghani directed What We Left Unfinished, which studies the relationship between the Afghan film industry and the country’s national identity, from the abolition of the monarchy in the 70s to the Taliban in the 90s.

The efforts of Afghan directors have borne fruit as the films have won awards on international platforms. Osama, directed by Siddiq Barmak, won a Golden Globe in 2003. In 2019, Hava, Maryam, Ayesha de Karimi premiered in the Horizons section of the Venice International Film Festival.

On the other hand, Afghans have produced films like Kandahar (2001), a film that tells the story of an Afghan-Canadian woman who returns to her homeland to save her sister from suicide. It didn’t get much attention when it premiered at the Cannes Film Festival, but then came the 9/11 attacks, and the world wanted to know more about the hardships faced by women in Afghanistan.

It is in the making and the perception of our own art that our roots are reminded many times. On the other hand, art acts as a vector of knowledge of foreign cultures, and its restriction leaves us deadlocked. Now it seems that the years of hard work of Afghan filmmakers and artists have come to an end.

The author is a freelance journalist. Email: [email protected]


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Vivaha Bhojanambu film review: a good premise is marred by a script without direction

Title: Vivaha Bhojanambu

To throw: Satya, Aarjavee, Srikanth Iyengar and others

Director: Ram abbaraju

Evaluation: 2/5

“Vivaha Bhojanambu” is one of the first Telugu films set during the time of the pandemic. These are the first days of the coronavirus pandemic when penny pincher Mahesh (Satya) is due to attend a humble wedding, much to his delight. As fate willed it, an unexpected national lockdown puts him in a soup kitchen as he must house his in-laws and their many loved ones for days with a huge monetary burden. But the real problem is another: the stepfather (played by Srikanth Iyengar) is disgusted with Mahesh, who is not rich like him, who is not beautiful like his daughter (Aarjavee like Anitha), and who is not a businessman. Mahesh is an idiosyncratic LIC agent who salivates at the prospect of Covid-19 forcing people to take out life insurance policies so that they can earn a few thousand more.

Writer-director Ram Abbaraju comes with a special premise. Although Telugu audiences have seen some hilarious miseries (played by leading actors such as Rajendra Prasad and Kota Srinivas Rao) before, Satya manages to make the film look like a one-man show at least until the premiere. half. He is brilliant as a slightly naive and extremely stupid son-in-law who is lucky.

Little by little, the film gradually becomes generic. About forty minutes into the story, it’s no longer about the avarice of the male protagonist. The situations become nonspecific, the storyline loses its meaning, the wacky humor gives way to an uninspiring gag fest where Covid-19 jokes replace the substantial part of the story for a good chunk of screen time. The comedy loses its effervescence, and the very many characters are condemned to repeat the same expressions. The end of TNR is nice, but the absence of a funny young man in the bride’s camp is a glaring flaw.

If Satya’s modulations are pleasant, the others only tire you. Srikanth Iyengar, otherwise a watchable actor, is a note. The female lead becomes a footnote, so much so that you wonder if she’s a stranger hired to act as a wife. In an outdated climax that’s marred by a practical trope from another era, she looks so unmotivated that even a medical advisor would seem more invested and emotional in her client’s life.

The movie gets so repetitive that if you talk about a few jokes you’ll end up revealing the whole story. Either way, some of the jokes aren’t original (the assimilation of Narendra Modi giving tasks to the nation during the March-April 2020 lockdown to the Bigg Boss assigning tasks on the reality show, is only ‘an example). And where they work is only thanks to Satya’s impeccable timing.

The skin-deep comedy turns into a prank to Sundeep Kishan when the actor enters the screen as Nellore Prabha. For a film that lacks an emotional arc, ironically, it’s this guest character that has his own emotional (albeit ridiculous) arc. The comedy in the second half is decidedly unbearable.

There is a revelation about Mahesh around 30 minutes after the start of the second half. If that had been the interval point, the conflict plot point would have existed at least on paper.

The casting of Subbaraya Sharma, an actor who is well past his expiration date, reveals the film’s lack of interest in knowing what audiences want. Comedian Sudarshan and Shivannarayana, famous for ‘Amrutham’, prove their worth. The movie, in general, makes us pray that the confinement will end so that the annoying parents can leave Mahesh’s house and end the ordeal called “Vivaha Bhojanambu”.

Also Read: STR Silambarasan Shares New PIC As He Begins Vendhu Thaninadhatu Kaadu’s Second Filming Schedule


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Independent Cinema Comes to Adams County: David Noble and “Secret Within the Sphere”

By Shane Carley

On August 14, the independent sci-fi steampunk feature “Secret Within the Sphere” premiered in Gettysburg, R / C Gateway Theater 8. The film was shot and produced in central Pennsylvania, and the main actors are Lancaster (Sugey Cruz, Alex Rudegeair and Jeremy Good), Reading (Josh Spudeno) and Gettysburg (Austin Greene).

Writer and director David Noble describes the film as “a low-budget independent sci-fi feature film … about an airship captain named Rudolph, who is hired by the local royalty of the planet Wallacia to steal an artifact from historical significance. It touches on many fundamental aspects of high adventure in a steampunk genre context. ”

“Secret Within the Sphere” is Noble’s fourth feature film with the production company he runs with his wife, Noble Park Films. Each movie was shot in a different location, including a horror movie in the woods of Louisiana (Zydeco, 2012), a martial arts movie in Seoul, South Korea (The Knight Squad, 2014) and an adventure and treasure hunt movie in El Paso. , Texas (Lost Padre Mine, 2017).

Regarding the locations of his projects, Noble said, “When you’re in a location and looking to produce a movie, the location and the backdrop shape the type of movie you would make. We ended up in Pennsylvania, and between the Victorian backdrop of the number of mansions and the affinity of the rail system and other factors, we ended up making a sci-fi steampunk movie.

Noble said the majority of the production took place over a nine-day span, during which the cast and crew filmed central Pennsylvania, including a switch tower, the National Road Museum. iron, two different historic mansions and the State Capitol building.

Noble has been outspoken about how those involved in the project helped elevate it to the movie it has become. Pennsylvania-based companies Broken Tile Productions and Winchell Media served as producers on the film and helped Noble secure the majority of the film equipment, the cinematographer, and some of the other crew members. “Sugey Cruz, besides being one of the main cast, helped with the casting auditions, as well as securing much of the cast itself. And the recognition of Broken Tile and the recognition of Winchell Media were simply due to the fact that, more than most, these two groups outdid themselves. “

The whole project lasted three years. “When you work in an independent film community, especially with micro-budgets, the preponderance of people involved have day jobs. But they still have to make a living to be able to do it in their spare time, ”Noble said.

The first year was spent writing the script, finding locations and casting. By the end of the first year, Noble was able to design a nine-day program from May through July where actors could film on weekends over a three-month period. “The second and third year, because we were navigating through COVID, it took a hiatus. The second and third years were really devoted to audio editing. And we reached out to post-production creatives from, say, 15 different countries. So people all over the world were doing different aspects of visual effects. Whether it’s audio recordings for voiceovers in London, or music by musicians in Sri Lanka, Australia, India or Israel, the post-production effort has truly come together.

When asked how independent production companies like the Noble Park films can carve out their own niche in the cinematic landscape while competing with the Hollywood studio system, he replied, “You can’t. They are capable of investing hundreds of millions of dollars in things, and so what we have to do is, instead of competing at their game, you have to change the game in your favor. For us, when we produce a movie, we are telling the story we want to tell and it’s not micromanaged by the leaders. And so the story we are telling was “A Secret in the Sphere,” and it was the best story we could tell, given the settings. But when you look at the complex locations, the cast, the crew, the music, the sound, a number of factors, there was a lot of energy that went into this movie. But for us, we have the friends, the memories, a project that finally ended. And there is a lot of value in that.

“Secret Within the Sphere” has been recognized in over a dozen festivals as official selections, semi-finalists and finalists. So far, it has won four awards, including “Best Science Fiction”. Noble Park Film’s “Secret Within the Sphere” will be released in December on demand.



Shane Carley of Trumbull, Connecticut, is an aspiring student at Gettysburg College, majoring in Political Science and English, with a concentration in Writing, and a minor in Film and Media Studies. This summer, Shane is an intern for the Gettysburg Connection. In the free time he would like to have, Shane enjoys reading, writing and watching movies. After graduation next spring, he hopes to study for a master’s degree in political journalism.




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Bram Stoker’s Dracula Soundtrack Gets Mondo Vinyl Release

Bram stokers Dracula was first published in 1897, and over the past century the character has come to life dozens of times. While some might argue that the character’s most defining interpretations came in the 1922s Nosferatu or the years 1931 Dracula, the famous filmmaker Francis Ford Coppola marked the character with Bram Stoker’s Dracula in 1992, with Gary Oldman, Keanu Reeves, Winona Ryder and Anthony Hopkins. Almost 30 years later, Mondo is celebrating that seminal horror story by releasing the film’s soundtrack on vinyl, with the album set to go on sale this Wednesday, August 25 at 12 p.m. CT. You can try to get the record at MondoRecordShop.com.

Mondo describes the outing, “Deep in the Carpathian Mountains, in the land of Transylvania, lies the castle of one who would have domain over all evil on Earth … and with that blood and fury comes the captivating music and hypnotic Bram Stoker’s Dracula. Directed by cinema legend Francis Ford Coppola, the film revisits the original text from 1897 for a unique and bloody vision. For the score, Coppola chose the great Polish composer Wojciech Kilar, whose dark themes and dark choral textures have become the standard of vampire cinema music. Working with Coppola’s vision of the film as a tragic love story, Kilar evoked a heartbreakingly beautiful yet violent symphonic poem that exquisitely sums up the darkness and passion of Stoker’s classic tale. However, love never dies, and neither does good music. “

The details on the vinyl are as follows:

  • Music by Wojciech Kilar. Original song by Annie Lennox. Work of JC Richard. Pressed onto 180 gram transparent red and purple splash vinyl. Also available in 180 gram black vinyl. Housed inside a gatefold sleeve. Liner notes by Charlie Bridgen. $ 30
(Photo: Mondo)

One of the last major attempts to bring the character to the big screen came in 2014. Dracula unknown, which served as a sort of prequel to the events recounted in the novel. This movie was set to kick off Universal Pictures’ “Dark Universe” of reboots focused on universal monsters, although it was a financial disappointment the studio changed its plans. Instead, the shared universe officially kicked off with The Mummy in 2017, but the disappointing reception of that film saw the Dark Universe be almost entirely done away with.

Following the success of The invisible Man in 2020, several projects under development are inspired by Dracula.

Will you add the album to your collection? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter to talk about everything Star Wars and horror!

Note: If you purchase any of the awesome and independently chosen products featured here, we may earn a small commission from the retailer. Thank you for your support.



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DIFF “West Meets East Screenplay Lab” Finalists Announced

The names of the finalists for the “West Meets East Screenplay Lab” were announced yesterday, according to a press release. Selected after careful deliberation by an international jury of five members, the laboratory, which will take place from January 16 to 19, 2022, as part of the 20th Dhaka International Film Festival (DIFF), is expected to welcome promising filmmakers. from all over South Asia.

The jurors, who will also supervise the finalists, include Berlinale delegate for South Asia, Meenakshi Shedde (India), film festival programmer Hannah Fisher (Canada) and film festival programmers and producer Meral Duran. (France), director-producer Abu Shahed Emon (Bangladesh), and art and film critic Moinuddin Khaled (Bangladesh).

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The finalists selected are Kiran Pokharel for “Putali Ko Sapna” (Nepal), Tanha Zafreen for “Jolchhobi” (Bangladesh), Gaurav Madan for “Kanda Vanda” (India), Tasmiah Afrin Mou for “Fear-y-Tale” (Bangladesh ), “Royal Sadat” for “The Forgotten History” (Afghanistan), Jamayang Jangtsho Wangchuk for “White Gold” (Bhutan), Proshoon Rahmaan for “Distant Neighbor” (Bangladesh), Shajedul Islam for “Camera Kids” (Bangladesh), Rajny Basumatary for “Wild Swans” (India), Rafiqul Anwar Russel for “The Dreams Far Away” (Bangladesh) and Malaka Nilwala for “Heli-The Daughter” (Sri Lanka).

All of these 11 projects will be framed in the lab and shown at the DIFF Film Hut where film producers and distributors, including OTT representatives, will be present to bid. The top three filmmakers will receive $ 5,000, $ 3,000 and $ 2,000 respectively.

The jurors were amazed by the quality of the projects and wish to congratulate not only the winners but also the projects which could not be selected. These projects hold immense potential in terms of history and visuals, they mentioned in their deliberation.

West Meets East co-organizers Aka Reza Ghalib and Sadia Khalid Reeti will oversee the Script Lab and South Asian Film Market – Film Hut.

This is the fourth edition of West Meets East and the first edition of Film Hut, where prominent cinema personalities from around the world come together to exchange knowledge, network and collaborate on meaningful projects aimed at eliminating cultural barriers.

DIFF, organized by Rainbow Film Society, began its journey in 1977. The festival is the largest film festival in Bangladesh which annually hosts around 200 films and over 100 foreign delegates. The 20th Dhaka International Film Festival will take place from January 15 to 23, 2022.


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Lanarkshire teenager Caitlin Agnew’s songs make Last Bus soundtrack






Lanarkshire teenager Caitlin Agnew’s songs make Last Bus soundtrack



































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“Halloween Kills” soundtrack slated for release in October – Entertainment Focus

John Carpenter’s “Halloween Kills” soundtrack will be released on October 15, 2021 via Sacred Bones.

The soundtrack is that of the second film in the new trilogy and Carpenter once again teams up with Cody Carpenter and Daniel Davies. “Halloween Kills” is directed by David Gordon Green and Jamie Lee Curtis returns as Laurie Strode.

In 2018, David Gordon Green’s “Halloween” was killed off at the box office, becoming the franchise’s highest-grossing chapter in four decades and setting a new record for the biggest opening weekend in history for a horror film starring a woman.

‘Halloween Kills’, the movie, is written by Scott Teems, Danny McBride and David Gordon Green, based on characters created by John Carpenter and Debra Hill. The film is directed by David Gordon Green and produced by Malek Akkad, Jason Blum and Bill Block. Executive producers are John Carpenter, Jamie Lee Curtis, Danny McBride, David Gordon Green and Ryan Freimann.

Like the film itself, Carpenter’s score stays true to the spirit of what made the 1978 original great while also bringing it firmly into the present. The music is unmistakably Carpenter: the sinister vintage synth sounds, the breathtaking sense of threat that is evoked with some dissonant notes. But with a wider sonic palette, new digital techniques at his disposal, and a deeper sense of musicality, Carpenter continues to push his creative limits and find new ways to delight and terrify his fans.

By now, Carpenter’s hypnotic theme for his 1978 horror masterpiece “Halloween” has embodied slasher-stalker anxiety for generations of moviegoers and has become so integrated into pop culture. that it has become a musical shortcut for the entire horror genre.

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Martin Scorsese’s rules for the “Goodfellas” soundtrack

When it comes to arranging soundtracks, no one is better in the world of cinema than Martin Scorsese. Shamelessly reliant on classic 1950s tunes and Rolling Stones songs (is there a Scorsese movie that doesn’t have ‘Gimme Shelter’ in it?), Scorsese uses music as a stage driver, almost like so the tracks played above the action were to be heard in real time by the characters and dictate their actions.

Goodfellas, arguably the director’s best film, is no exception. Whether it’s the innocence of youth exemplified by the Cadillacs’ song ‘Speedo’, the savage paranoid flow of drugs and mania heightened by the Who’s’ Magic Bus’ track, or the heinous destruction of fashion. Crowd life underlined by the piano outro of ‘Layla’, Scorsese takes a playful approach to the jukebox to maximize emotional impact.

To anyone’s surprise, Scorsese has complete control over the composition and tone of non-diegetic sounds. When it came to Goodfellas specifically, however, Scorsese took it to a new level by implementing two strict rules on itself for the songs chosen.

The first was to avoid anachronisms. Whenever the scene was set, the song that was playing had to be released in the same year or it had to be older. Thus, the immersion of the scene is not broken by a song that the characters themselves would not have heard. Since the film ends around 1980, this narrows down the song selection to the three decades in which the story takes place. It instantly engenders authenticity.

The second rule focused on the song at hand, commenting on the scene in some way, whether direct or unexplained. For example, Tony Bennett’s “Rags to Riches” opens the film and sets the tone for Henry Hill’s major arc. Crystal’s “Then He Kissed Me” highlights Karen’s downfall for Henry at the Copacabana. Harry Nilsson’s “Jump Into the Fire” made the soundtrack for the delivery of the weapon to Jimmy. Obviously or less obviously, the song had to add to the narrative, not just a cool sound.

Difficult to dispute the results: Goodfellas is one of the greatest films of all time, thanks in large part to the precise fusion of the action on the screen and the music heard over it. Scorsese can’t be touched when it comes to this talent. It’s not an inherent tool in the arsenal of filmmakers, but Scorsese’s musical ear has always been his secret weapon.

Now, since it’s a Scorsese article, this is ‘Gimme Shelter’, because talking about Scorsese without the Stones is like going to a Modest Mouse concert without the band playing ‘Float On’.

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