The fact that all of these elements not only seem to work together but also mirror Punch-Drunk‘s pendulum-swings between TCM binge-watching and avant-garde art (those Jeremy Blake color-smeared transition scenes!) attest to Brion’s talent as a collaborator. The result is a distinctive blend of noise experimentation, a borrowed Harry Nilsson song from Popeye (“He Needs Me”), some primitive and atonal percussive interludes and several orchestral works that evoke the swooning symphonies of old Hollywood movies from the 1950s. It’s a gloriously weird love story, one that would require a singularly offbeat soundtrack … which is where Jon Brion comes in.Īn multi-instrumentalist and record producer-cum-musical genius, Brion had worked on several of Anderson’s previous movies before being asked to score the writer-director’s story of a gentleman with anger issues (Sandler) who falls head over heels for a young woman (Emily Watson).
ADAM SANDLER MOVIES WE USED TO COME HERE AND GET WASTED CRACKED
Paul Thomas Anderson’s Punch-Drunk Love remains an outlier in the filmmaker’s career and one of the more oddball movies to come out of a studio in the past two decades – an ode to true love involving phone sex scams, pudding, wrecked public restrooms and proof that even cracked pots have lids that complement them. It’s blissfully romantic, undeniably eccentric, the easy go-to-answer for the best Adam Sandler movie ever made, a modernist gem, a valentine to old musicals and the only film to feature both Philip Seymour Hoffman and an abandoned harmonium in key supporting roles.
0 kommentar(er)
