• OST: "He Got Game"

    Although there's no reason that a bad movie can't feature a good soundtrack -- after all, there's plenty of good movies that feature rotten ones -- we've tended to focus, here in the OST feature, on movies that have both.  A soundtrack, after all, is meant as complementary; it's an enhancement to a good movie, not a substitute for one.  Still, every once in a while, a movie rolls around where the product on screen is pretty lousy, or at the very least forgettable, but which provides us with a soundtrack or score that will provide enjoyment years after anyone's forgotten what the movie was even about.  The relatively recent Hollywood trend of propagating otherwise mediocre would-be hit movies with pop songs -- often by bands under contract with the studio's parent company -- has been particularly helpful in this regard, as it can ensure that the filmmakers will be able to recoup at least some of the losses they took from no one going to see the movie from those same people deciding to take a flyer on the soundtrack, because at least it has that one good song on it by Sevendust or whoever.

    Which is not to say that Spike Lee's movie on the wicked world of college basketball, He Got Game, is a terrible movie.  It's not even a terrible Spike Lee movie.  It's just not a great movie.  A skillful performance by Denzel Washington gets cancelled out by a pretty dismal one by real-life basketball star and non-actor Ray Allen; a skillful script about a subject of genuine interest is scuttled by one too many over-the-top scenes, and -- surprisingly, given Lee's love of basketball and the presence of genuine  NBA stars in the cast -- the sports action scenes generally fall somewhat flat.  However, the soundtrack definitely has emerged as a much more worthwhile endeavor than the movie.  Originally conceived by Spike and Public Enemy frontman Chuck D. as a straightforward soundtrack to the film, PE's He Got Game eventually emerged as an entire and distinct album by the revolutionary rap group -- and one which came at a time when many critics had written them off as a thing of the past. 

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  • The Twelve Greatest Opening Credits in Movie History, Part 2

    THE HAWKS AND THE SPARROWS (1966)



    The great Ennio Morricone has contributed to some of the greatest opening credit sequences of all time, but the opening to Pier Paolo Pasolini’s 1966 masterpiece The Hawks and the Sparrows holds a special place in the hearts of anyone who has seen and heard it. Here, in tune with Pasolini’s conception of the film as “a comic opera,” the credits are actually sung, in a boisterous vocal performance (courtesy of the great Domenico Modugno) that ranges from cackling laughter to pronounced wail to gentle whisper. Reminiscent of both the rhythmic Spaghetti Western scores Morricone was becoming famous for and the more wacked-out electronic experimentation he was beginning to dabble in, it also displays a weirdo playfulness that is pure Pasolini. Indeed, try to imagine what’s going through the head of this fellow, as he performs this strangest of compositions in concert with Morricone, decades later.

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