Miles Teller plays Andrew, a teenage jazz drummer learning his chops under the abusive tutelage of psychopathic bandleader Fletcher (brilliantly portrayed by JK Simmons). Whiplash is a bold, brutal and beautiful portrayal of the lengths to which we go to remain dedicated to our dreams. Malle’s own obvious adoration for the soundtrack sums up its triumph when he points out that: “I strongly believe that without Miles Davis’ score the film would not have had the critical and public response that it had.” Whiplash (Damien Chazelle, 2014)
The mood created by the stunning Miles Davis soundtrack proved to be artistically inspired in the open-ended solos which lend themselves perfectly to the psychological dimensions of the characters of this wandering meditation of a film. The movie, with its depictions of the modern world and younger lovers grappling with older generations, asks its audience to surrender to its depictions of the new France – of motorways and modern buildings, motels, American cars and sharp suits. Malle’s debut feature is a film with an evocative and powerfully sombre mood – a cool and passionate film about love, passion, betrayal, murder and mistaken identity with dire consequences. The soundtrack was composed and performed by the inimitable Branford Marsalis Quintet and renowned trumpeter Terence Blanchard. Bill scored Spike’s first four movies before the two had a falling out following a long-running feud after his father remarried. The film’s score was written by Lee’s father, Bill Lee. Snipes’ saxophonist, Shadow, and Washington’s trumpet player, Bleek, enter into a power struggle for leadership that bleeds into their private lives and loves, while Giant has a problem with gambling that leads to Bleek getting beaten up by mobsters who leave him with an injury to his mouth which prevents him from playing the trumpet. Needless to say, there is plenty of tragedy in those two lives.
Some scenes are based on the life of Charlie Parker, some are from the life of Chet Baker. The film centres on Lee’s deliciously ironically named music promoter, Giant, as he manages his best friend’s jazz band. It’s helped along by a star-studded cast of Lee regulars including Denzel Washington, Wesley Snipes, Giancarlo Esposito, Samuel L Jackson, John Turturro and Joie Lee. Lee’s film is a moving and often hilarious tribute to the jazz greats. Here are five of my particular favourite soundtracks. But where does it fit into the pantheon of great jazz soundtracks?Ī great many jazz giants from Duke Ellington and Sonny Rollins to Ornette Coleman and Herbie Hancock have scored films and Coltrane’s contemporary, Miles Davis, also produced two soundtracks. Le Chat won the Grand Prix at the Montreal International Film Festival that year and remains a cult classic. The album has garnered favourable reviews – the Irish Times called it: “a gift to the world”.
#Charlie murder soundtrack archive
The drama, directed by Gilles Groulx, is viewed by critics as an important moment in Canadian cinema.Ĭoltrane and his band spent three hours in the studio and contributed three pieces of music to the film, but the sessions then sat in an archive until they were released as an album, Blue World, in August 2019.
#Charlie murder soundtrack movie
Not another Pulp Fiction then, but amusing enough.John Coltrane – a giant of the jazz world – wrote and recorded in 1964 a soundtrack for the French-Canadian movie Le Chat Dans le Sac, backed by his quartet of Jimmy Garrison on bass, Elvin Jones on drums and McCoy Tyner on piano.
But that's balanced by Nancy Sinatra's great murder ballad Bang Bang, Charlie Feathers' That Certain Female and the Japanese rock contributions of Tomoyasu Hotei's overwrought Battle With Honor or Humanity and the 5.6.7.8's daft garage rock of Woo Hoo. Santa Esmeralda's 10-minute latin-disco version of Don't Let Me Be Misunderstood is enough to have you running to the fast forward button as does pan-piper George Zamfir's lift-music classic The Lonely Shepherd. There are two contributions from the Wu-Tang Clan's RZA, though he did the samurai hip-hop thing far better on Jim Jarmusch's Ghost Dog. The pastiche nature of Kill Bill is reflected in the music, borrowing from classic soundtrack composers such as spaghetti western guy Luis Bacalov, Bernard Hermann's Psycho-like theme from the 1968 movie Twisted Nerve, Isaac Hayes, and Quincy Jones (his Ironside theme). By RUSSELL BAILLIE (Herald rating: * * *) Seemingly always editing his films with one eye on the dustier parts of his record collection, Quentin Tarantino delivers another soundtrack of vintage gems interspersed with snatches of ripe dialogue.