For “Star Wars Day,” Keep Your Ion This Scene
To honor Star Wars day (May the Fourth… be with you), here is one of the best scenes from Episode Five: The Empire Strikes Back. It’s unlikely, but in case you’re not familiar: After the Empire discovers the whereabouts of the rebel base on the ice planet of Hoth, rebel leader, Princess Leia orders alliance members to board transport shuttles in order to evacuate the base. The surface-to-space ion cannon has been set to fire upon the approaching imperial cruisers, allowing the transports to get past the distracted blockade.
Whether you fly your “nerd flag” high or not, keep your ion this scene, which works wonderfully for many reasons:
Its use of ominous orchestral music, followed quickly by the quiet tension in the base, moments before the ion cannon is fired;
The propulsive force of the cannon firing is a stellar example of Star Wars’ effective use of sound in film;
The shift to triumphant orchestral music, reminiscent of ones used in swashbuckler films of the 1940s, starring Errol Flynn;
The celebratory “Hooray!” from the rebel pilots after they learn “the first transport is away,” with Luke Skywalker once again taking on the hero role, the “every man,” leading a band of intergalactic misfits to stop the imperial ground attack;
Lastly, it celebrates a common Star Wars theme: the proverbial David outsmarting Goliath, in order to live (and fight) another day. (Goliath, not just in the form of the Empire, but in the next scene, Luke, piloting his snow speeder, takes down a towering AT-AT walker by wrapping a cable, his slingshot if you will, around its legs, sending it crashing into the snow.)
Space Jam: Jack White’s “Connected by Love”
The musician, Jack White recently released the powerful single and video for “Connected by Love.” Haunting synth evokes a sci-fi Kubrick film, or a Blade Runner score that would make Vangelis proud. Quick to follow are hints of the Stones in the ‘60s: the gospel feel of “You Can’t Always Get What You Want”; soulful backing vocals reminiscent of Merry Clayton’s on “Sympathy for the Devil.” The experimental sound of the ’70s courses through too (passionate rock-opera-inspired vocals by Mercury and Daltrey come to mind). As already noted, “Connected” feels sci-fi cinematic; its accompanying video similar in part to the 2011 Lars Von Trier film, Melancholia, about the complex relationship between two sisters, as a planet sets out on a collision course with Earth.
With White threading together various musical styles, he blends the past with the present, and the (futuristic) video highlighting the unconditional bond between parents and children from all walks of life, while White’s character sits alone in a hotel room with his regrets (”What have I done?/I have pushed away everyone”), the importance of connection, plays a starring role.
Lana Del Rey Delivers the “Love”
Most songs by the singer, Lana Del Rey can certainly be described as melancholic. Her ‘60s/‘70s-retro look and torch-style vocal delivery of airy highs and seductive lows surround material that’s often heavy and haunting, yet with a light, dreamy sound. With previous album titles such as Born to Die and Ultraviolence, Del Rey has never shied away from brutally honest lyrics dealing with the sadder, darker side of love and belonging, a young woman navigating as best through life, despite, as sung in her emotionally raw 2012 single, “Ride,” “… a war in my mind.”
Yet it’s the release of “Love” that presents Del Rey seemingly in a whole new light—smiley and hopeful. Its sound is still reminiscent of her previous work, with that David Lynch “Twin Peaks”-inspired lounge vibe, as best exemplified by the bass intro.; its lyrics optimistic: “Doesn’t matter ‘cause it’s enough/to be young and in love.”
The video for “Love” features Del Rey and band performing for an audience of young men and women in an interplanetary venue. An eclipse viewed by the “young and in love”; a tranquil kiss between a couple all make for stunning highlights. “Love” is peaceful meditative pop; four minutes of positive escapism that even has the normally introspective Del Rey singing, “Don’t worry, baby.”
Kubrick in Color
This montage highlights some of the director, Stanley Kubrick’s boldest, most iconic movie shots, color by color. Needless to say, it’s an absolutely brilliant look at his distinctive style and his fearless use of hue as visual cue, for example, to convey emotional tone or plot foreshadowing.