Bundle Up: Four Films for Fall
For many of us, skies are still blue and temps are still warm. So it may be hard to get into fall-season feels. But before you know it, nature’s A/C will kick in, and we’ll find ourselves wanting to bundle up under a throw, and get all comfy, cozy, and ready to watch a fall-season flick. Here are four films that are the motion-picture equivalent of a great big hug, ones that make you feel warm, not like on a summer day, but in a warm and fuzzy kind of way:
Screen Time
The 1998 Nora Ephron film, You’ve Got Mail delivers fall-season vibes big time: Tom Hanks; Meg Ryan; a witty rom-com script; New York in the fall (“makes me wanna buy school supplies”); a heartwarming soundtrack; the unforgettable Parker “I’m having my eyes lasered” Posey. Back then, it was dial-up email, now it’s Wi-Fi, social media, and sliding into someone’s DMs that can create love connections. Classic cinematic themes of opposite attract, the importance of internal beauty, and a tireless faith (fate) in love make this a fall-season film essential.
“I didn’t know who you were with.”
Right from the opening credits, which glides the viewer into a beautiful apartment, drapes flapping in the cool breeze, to a buffet table of savory selections, this film is the epitome of cozy cinema.
Come on in!
And remember, “that caviar is a garnish!”
“You’re taking all the caviar?!”
Change of Heart
Nine years prior to You’ve Got Mail, there was Rob Reiner’s When Harry Met Sally… The Nora Ephron-penned screenplay gave new life to the romantic comedy, allowing the viewer to watch the relationship between a man and a woman, the former who believes men and women can’t be friends, develop into just that, and eventually something more. Like summer turning into fall, the film is all about transition: each goes through a major breakup (Harry with Helen, Sally with Joe); the passage of time, complete with changes in fashion and hairstyles; and most significantly, time, and life lessons, cultivate a slightly more mature Harry, and a slightly less persnickety Sally. No one is completely transformed, but each undergoes a change of heart, entertaining the notion of letting someone in, not just someone new, but someone drastically different.
During the scene that has Harry (Billy Crystal) and Sally (Meg Ryan) walking through the park, Sally sharing details (or lack thereof) of a longstanding sexual fantasy, the cinematographer, Barry Sonnenfeld captures the various orange hues and verdant shades of green in the trees. Just as the colors of the leaves begin to change, a natural visual indicator of autumn’s arrival, a shift begins for Harry and Sally. Sharing of a sexual fantasy is reserved for a more intimate bond, but here it’s shared in the context of a budding, once highly unlikely, friendship.
“Well sometimes I vary it a little.”
In another scene, Sally, in a warm and toasty red turtleneck, confides in Harry about why she and Joe broke up. The “I spy a family” monologue is Ephron prose at its best. Sally mentions at the start of her story how she and Joe “wanted exactly the same thing.” But by the end of the story, they reach a crossroads, their “wants” become “needs”; it’s another change of heart, but it’s the type that divides people apart, instead of drawing them together.
“And I started to cry.”
As the film reaches its climax, not of the iconic deli-scene kind, it’s no surprise that it takes place on New Year’s Eve, the ultimate time of the year that signifies transition. Ephron writes another heartfelt monologue, this time Harry expressing an epiphany: “… When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible.” I’ll have what he’s having.
“I love that it takes you an hour and a half to order a sandwich.”
Shue In
This next movie may not immediately conjure up images of autumn, or New York in the fall, but Chris Columbus’ Adventures in Babysitting has that fall-season state of mind. The 1987 comedy is set partially in the Chicago suburbs, and Columbus once again captures crisp, upper-middle-class living, suddenly turned upside down (a theme he would continue to explore in 1990’s Home Alone and 1994’s Mrs. Doubtfire).
Elisabeth Shue stars as Chris Parker, a suburban teen turned reluctant babysitter. Chris and the trio of kids now in her care are forced to leave the sheltered confines of suburban life, and head into the big, bad city to pick up Chris’ friend, Brenda (Penelope Ann Miller), who’s stuck in a downtown bus station. En route, everything that could possibly go wrong, does, and Chris must tap into her highly underdeveloped street smarts.
Shue’s Chris Parker is the anti-Ferris, an underrated heroine of the ‘80s teen-comedy genre.
All the while, Chris tries to stay cool, and keeps warm, wearing gloves, a multicolored striped scarf, and a long brown coat that she inherited from her grandfather. A gold heart-shaped brooch rounds out the look; all are style cues indicative of Chris’ inherent maturity, and capability, well beyond her years. By film’s end, the character of Chris becomes the anti-Ferris, an underrated heroine of the ‘80s teen-comedy genre. Shue is lovable, relatable, and completely convincing in the role as the “every girl” in extraordinary circumstances.
The adventure begins.
And we can’t forget Thor-obsessed Sarah (Maia Brewton), the coolest tyke on roller skates.
“You want some orange?”
Mama Drama
Chris Columbus’ films showing the family structure in disarray still managed to have a comedic tone; Mrs. Doubtfire the prime example of this, as it tackled divorce, and what happens when a parent is replaced by someone who not only fills the void, but seemingly fills the position better. In 1998’s Stepmom, Columbus continued with the theme of divorce and parental replacement, but added more turmoil and tears.
Susan Sarandon’s Jackie Harrison is co-parenting two children with ex-husband, Luke (Ed Harris) and his new girlfriend, Isabel (Julia Roberts). Jackie and Isabel are at odds, with one of their wars of words taking place on a fall-leaf-covered battlefield, a fitting environment for Jackie to reveal her cancer diagnosis to Isabel.
“You guessed the wrong secret.”
Behind Isabel, the trees are alive and green, but cut to Jackie, and she almost blends into a background of fallen orange and yellow leaves, and somber earth tones. It’s after this exchange that their relationship softens, temporarily, and for the moment the tears dry, with death at one point even seen as comic relief. A Thanksgiving-themed school play features Jackie’s son, Ben (Liam Aiken) as a flying turkey (on wires) that is shot by prop bows and arrows, and muskets. A horrified Isabel asks Jackie: “Is he dead?” to which an unfazed Jackie replies: “Yeah, they killed him, but he does it so great!”
“Are you dying?”
The story continues through the fall, and into winter, culminating in the emotional “And you can have their future” scene, the beautiful midnight horse ride, and finally, a warmhearted Christmas morning, with Ben, a budding magician, receiving a gold cage with a white dove as a surprise gift; the dove also serving as a symbol of peace, the newest member of the Harrison family.
“Not today!”
So when that autumn chill begins to fill the air, get comfy on the couch with one, or all four, of these fall-inspired flicks. Which one will you bundle up with first?
Coppola Mechanism: Francis and Sofia’s Different Portrayals of Loneliness
In between The Godfather and The Godfather Part II, Francis Ford Coppola directed another classic: 1974’s The Conversation. Gene Hackman plays Harry Caul, a San Francisco surveillance expert who delves relentlessly into other people’s lives. Yet after one assignment, which has him initially (just) eavesdropping on a wealthy man’s wife and her male companion, he eventually finds himself trying to save what’s left of his own life. The viewer, funnily enough in an inherently voyeuristic role, sees that it’s not much of a life to begin with (barren loft void of color or personality; awkward attempts at human relations, specifically ones with women). Yet Harry seemingly resounds himself to reclusiveness, a sort of Catholic-induced self-punishment for the guilt that goes along with doing what he knows is wrong.
Coppola’s still-relevant script touches upon themes of technological obsession, voyeurism and paranoia, and its last scene is solemn and unsettling. Slow-jazz saxophone plays over the scene, a disturbingly serene choice to show someone peacefully succumbing to the (literal) mess one has made of his life. While Harry keeps human interaction and emotional involvement at a literal faraway distance, there’s a character in another Coppola creation who wants to intentionally connect with others, but first, with herself.
Partly based on Sofia Coppola’s time in Tokyo during her early twenties, 2003’s Lost in Translation is one of the best at capturing loneliness. The scene when Charlotte (Scarlett Johansson) calls a friend on the phone—a symbol of communication and connection—illustrates yet another way Charlotte feels dismissed and disconnected, not just a stranger in a new city, but worse, in her own life. As she sits alone in her hotel room, high atop and removed from the hustle and bustle of the city below, tearful gasps represent, in more ways than one, a longing to find home. The film’s soundtrack of dreamy, melancholic melodies and fuzzy feedback create a sense of… wander, and at times convey a hopeful reawakening for Charlotte, and actor in mid midlife crises, Bob (Bill Murray), both looking to feel refreshed after spending their lives in a (jet lag) haze.
Although both films are almost 30 years apart, Francis and Sofia show characters who are achingly lonely, yet the main difference is that one feels he deserves to be, the others are desperately trying not to be.
The Conversation: Paramount Pictures; Lost In Translation: Focus Features.
Time Passages: Musical Signposts in Paul Thomas Anderson’s Boogie Nights
Music. Score.
For 1997’s Boogie Nights, director Paul Thomas Anderson used music as a “scene partner.” Early on, ‘70s soul (“Best of My Love”), pop (“Brand New Key”), funk (“Jungle Fever”), rock (“Spill the Wine”) and disco (“Boogie Shoes”) represented the frivolity of the sexually liberated era.
Soundtrack on Capitol Records.
“Jack Horner, filmmaker.”
Set amid the production of pre-A.I.D.S. adult films, Burt Reynolds’ Jack Horner is the creator of “exotic pictures,” which were shot on film at that time, lending, as Horner would argue, artistic credibility.
Far Gone
While his “family” of fragile performers are kept close, it literally takes just a few seconds before the countdown to 1980 for Boogie Nights to go from glory days to gory nights, with William H. Macy’s Little Bill committing a series of disturbingly matter-of-fact violent acts at a New Year’s Eve party. It’s also Horner’s “wife” and “kids” descending into drug addiction, and the arrival of a new “cheap” format known as videotape, that signify the start of the downward spirals.
Bad Vibrations
Anderson begins to add harmless ‘80s pop into seriously unsettling scenarios to create further disconnect, and to convey a non-sexual loss of innocence for Mark Wahlberg’s Eddie Adams and John C. Reilly’s Reed Rothchild. (Night Ranger’s “Sister Christian” and Rick Springfield’s “Jessie’s Girl” have never quite sounded the same since.) Yet Anderson’s most effective use of music is the faint, pulsating bell chime that serves as a warning that the past has come back to haunt Adams. His Dirk Diggler alter ego resorting to back-alley exhibitions like the ones he did as a dishwasher in the Valley in ’77.
Rolling in the Deep
However, this ominous alarm is at its most anxiety-inducing during a scene involving Horner and Heather Graham’s “Rollergirl” in a limousine joy ride with a random guy as part of a new adult series, to be recorded on grainy videotape no less. Boogie Nights’ cinematographer, Robert Elswit shoots part of this scene as if the viewer is looking through the videocamera’s viewfinder, bringing us into the backseat, watching the moment Brandy’s past comes back to haunt her as well.
Amber Waves of Pain
It also marks the beginning of Brandy’s future that may play out like Julianne Moore’s Amber Waves (Maggie as she’s known from her previous life as wife and mother) and Don Cheadle’s Buck, both of whom deal with public scrutiny as they attempt to rebuild non-porn private lives. The “heyday” has reached The End, or more fittingly, its climax.
The Pop Zeal Project: Sheryl Crow: “Safe and Sound”
In 1997, pop/rock musician, Sheryl Crow sang the theme song to the James Bond film, Tomorrow Never Dies. Unfortunately, the song and the film, separately and as a pairing, failed to create any lasting memories, unlike many that had come before. However, five years later, Crow released her cool, Southern-California-inspired album, C’mon, C’mon, which featured a song entitled, “Safe and Sound.” Now THAT was what “Tomorrow Never Dies” should’ve been.
Granted Bond-film theme songs have varied in style, but there are some core elements that tend to be incorporated, giving the tracks immediate recognition, and, in many cases, help contribute to their longevity. Here’s why “Safe and Sound,” at least musically speaking, works as the Bond theme that never was:
Quieter verses with hints of piano harken to Sheena Easton’s “For Your Eyes Only.” (In a live capacity, Crow has been known to play piano when performing “Safe and Sound.”)
Those pop-ballad verses erupt to a rock-inspired chorus, not unlike Paul McCartney and Wings’ “Live and Let Die.”
As showcased on “Tomorrow Never Dies,” Crow’s vocal range still lends to that impassioned, big-voice quality reminiscent of Shirley Bassey’s work on “Goldfinger” and “Diamonds Are Forever,” and Lulu’s “The Man with the Golden Gun.”
Take a listen, and as the track plays, it’s easy to imagine the classic silhouettes and other artistic imagery featured in Bond-film opening credits. In particular, take note of the climactic crescendo and Crow’s vocal run; both cement the song as soundtrack worthy.
Pop Playlist: Sheena Easton: “For Your Eyes Only”
This theme song to the 1981 James Bond film, featured Sheena Easton on vocals and in the opening credits, the only singer to appear as part of these signature, silhouette-heavy sequences. Easton’s vocals are crisp; the song’s verses are soft and seductive, using the classic espionage phrase as a parallel to convey the love, devotion and “fantasy you freed in me/only for you.” By the chorus, Easton lets this classified secret out, only to hide in the shadows of those intentionally softer verses once again, confirming “For Your Eyes Only” as a smartly constructed track. (Other Poptimum picks from this sensational singer: “Morning Train” as sweet pop vocalist, but by mid-’80s steered toward “bad-girl” singer [“Strut”; “Sugar Walls,” written by Prince; “U Got the Look” with Prince].)
Cozy Cinema: “You’ve Got Mail” Still Delivers
Open Your Heart
The 1998 Nora Ephron film is the epitome of cozy cinema. There’s the magic of Tom Hanks and Meg Ryan, whose characters are involved in an online romance amid an offline rivalry.
Warner Bros.
There’s also scene-stealing Parker “I’m having my eyes lasered” Posey, the sunny romantic-comedy genre, witty script, and a crisp New York in the Fall. Although it could be seen as somewhat dated, for one of its supporting characters is AOL’s “You’ve Got Mail” announcement, the film still holds true today, as contemporary social-media outlets can also serve as an option for (love) connection, yet now more Wi-Fi than dial-up. Timeless themes of opposites attract, internal beauty as crucial component, and a faith (and fate) in love (“the dream of someone else”) make this film a feel-good essential.
Joe (Tom Hanks) has an epiphany he’s stuck in more places than just an elevator:
Pop Personality: Janet Jackson: “Doesn’t Really Matter”
“Doesn’t Really Matter” from Nutty Professor II is Janet Jackson’s ode to the “inner being,” that it “doesn’t really matter what the eye is seeing.” Its message a fitting one for the film, as Jackson’s character, a professor, plays the love interest of the reserved Professor Sherman Klump (Eddie Murphy), who has a Jeckyll & Hyde struggle with his larger physical stature. The song has undergone various incarnations (a music-video version; album/tour version), yet Jackson’s familiar breathy vocals over the fast-paced, syncopated lyrics remain. The All For You album track has an “edit” before the second chorus, and later a “rock mix”, both serving as opportunities for Jackson’s signature “dance breakdowns” during performances.
Feeling Solo: Destiny’s Child: “Independent Women Part 1”
What kismet—an apt word—that Destiny’s Child got their lineup finalized down to a trio and soon ended up contributing a song to the Charlie’s Angels soundtrack. Whether it’s a group of singers or private detectives, there’s nothing like the power of three, once you get the three members locked down. For the group, it was Beyoncé Knowles, Kelly Rowland and newest member Michelle Williams; for the film revamp of the classic TV series, it was “Lucy Liu, with my girl Drew, Cameron D…” That’s Drew as in Barrymore, D as in Diaz. Another example of this kismet collaboration: Just as the singing group seemed to struggle with who was in and who was out, the late ‘70s/early ‘80s TV series seemed to struggle as well with who was staying and who wasn’t. The show saw Farrah Fawcett leave after one season, and eventually Kate Jackson. Cheryl Ladd, Shelley Hack and Tanya Roberts all graced the couches of the Townsend Agency, with Jaclyn Smith—let’s be honest, the “Beyoncé” of the group—staying for the entire run.
With the TV series and the film version stressing the importance of female capability and independence (and at the same time, the benefits of camaraderie, regardless of what form the trio takes), it was a no-brainer that the title of the Destiny’s Child contribution would be “Independent Women Part I.” Full of catchy, sing-along hooks, it’s a confident ode to self-sufficiency, which has Beyoncé in the verses asking one rhetorical “Question:” after another to her male counterpart, reminding him that “I buy my own diamonds and I buy my own rings/Only ring your celly when I’m feelin’ lonely/When it’s all over, please get up and leave.”
And while there’s nothing wrong with pride, the ladies walk a fine line, yet are careful never to lapse into arrogance. Beyoncé, being the competent writer that she is, knows to never alienate the listener, but inspire, ensuring “I depend on me” is uttered frequently. In the second verse, she further clarifies: “If you’re gonna brag/Just make sure it’s your money that you front/Depend on no one else to give you what you want.”
After this second verse and chorus, note the familiar melody line in the bridge. Think of the verses on Blondie’s “Rapture,” for example: “Toe to toe/Dancing very close/Body breathing/Almost comatose.” “Independent Women Part I”: “Child of destiny/Independent beauty…” And finally, Question: Tell me that this infectious track shouldn’t be applauded for adding the line, “All the mamas who profit dollas”?
Heaven Sent: Whitney Houston: “I Believe In You and Me”
There are certain pop ballads that will forever be synonymous with their vocalists. To name a few: Patsy Cline’s “Crazy,” Stevie Nicks on “Landslide,” Mariah Carey’s “Vision of Love”; Celine Dion’s “My Heart Will Go On”— those songs that came around at the right time for the right person with the right range and because of that connected with millions. Whitney Houston’s “I Believe In You and Me,” certainly gets tacked on to that list.
Performed by Whitney’s character in 1996’s The Preacher’s Wife, it’s the similar, yet bigger-sounding studio version featured on the film’s soundtrack and on Whitney’s 2000 Greatest Hits collection that will be highlighted. The song starts out sweet and Whitney’s vocal is as such. The stomping piano serves as the precursor to the middle section, and this is where Whitney really starts to open up. As she starts out on the climb, she’s ascends up and up, slowly letting go of the controlled, pleasantly safe pop vocal: “Maybe I’m a fool/To feel the way I do/But I would play the fool forever/Just to be with you forever.”
By the time she reaches the summit of this section, her vocal transitions into gospel: “I believe in miracles/And love’s a miracle/And yes, baby, you’re my dream come true/I was lost/Now I’m free…” Whitney was blessed with a voice that could make people in the ‘80s and ‘90s shake their heads in disbelief, and would often be accompanied by the word, Wow. Devoted listeners marveled at how she could just open her mouth and out came that voice… the voice. Her vocals hit ears and headed directly to the limbic parts of brains, triggering chill bumps to travel down and back up through countless numbers of bodies and out in the form of watery eyes.
To this day, those countless listeners probably still shake their heads in disbelief, yet for a different reason. The astonished Wow now followed by a sad sigh. Nonetheless, the positive things she did with the gift are to be remembered. Easily, Whitney’s cover of Dolly Parton’s “I Will Always Love You” belongs on the above-mentioned list, and although some would argue that “I Believe In You & Me” would only garner an honorable mention, it still sits as one of the best studio recordings of the female vocal… ever.
Chvrches Had a Heavenly Year
In late 2013, the Scottish synth-pop group, Chvrches released the standout, ultra-moody track, “Lies” from their album, The Bones of What You Believe. The haunting video can’t help but evoke the impassive quality of the early new-wave ‘80s. (Think part Berlin’s “Metro,” part The Human League’s “Mirror Man,” but with a sleek modernity.) The imagery in “Lies” is full of international intrigue; secrecy and eavesdropping; deceit and danger, as well as pensive brooding in the shadows, none better conveyed than by the lead singer, Lauren Mayberry—the Natalie Portman of pixie-cool electronica.
Last year also saw the release of “Gun,” a pulsating, up-tempo track with a trippy kaleidoscopic video treatment that allowed Mayberry’s black eyeliner to become one of the prominent elements; “Recover,” which once again showcased Mayberry’s sweetly soft, yet determined enunciation. There was an intergalactic-inspired video, along with a second version that was more of a travelogue, documenting the band’s relentless touring and press schedules, pinpointing to just some of the reasons for their recent popularity.
Chvrches is approaching the end of 2014 busier than ever. The Coldplay-sounding “Under the Tide,” released in September, doesn’t include the ethereal styling of Mayberry at the helm, yet she returns to lead vocals on “Dead Air” from The Hunger Games: Mockingjay Part I soundtrack. And speaking of soundtracks, the exceptional “Get Away” was part of the BBC’s “Radio 1 Rescores: Drive.” Curated by the radio DJ and producer, Zane Low, the project was created as a re-imagining of the new-wave, ‘80s-inspired score and soundtrack to the superb 2011 Nicolas Winding Refn film. “Get Away,” as is “Lies,” is signature Chvrches (steady verses; quieter moments in the bridge; the buildup back to the explosive chorus).
And finally, just a few weeks ago, the group performed at the VH1 “You Oughta Know Live in Concert,” which highlights some of the artists and bands that achieved breakout success in the current year, and naturally, ones to watch in the year to come. Although originally released in 2012 and later re-released in Fall 2013, they performed their debut single, “The Mother We Share,” taking novices a.k.a. future fans back to the beginning, giving them the chance to discover just how heavenly Chvrches is.