Jamie Kennedy's favorite movie review site
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Advertisement

Latest Reviews

Isle of Dogs by Rob Gonsalves

Room Laundering by Jay Seaver

Mega Time Squad by Jay Seaver

Profile by Jay Seaver

Scythian, The by Jay Seaver

Aragne: Sign of Vermillion by Jay Seaver

Cold Steel by Jack Sommersby

Microhabitat by Jay Seaver

Last Child by Jay Seaver

Nightmare Cinema by Jay Seaver

Hotel Transylvania 3 by alejandroariera

Tremble All You Want by Jay Seaver

Skyscraper by Peter Sobczynski

Die Hard by Rob Gonsalves

Quiet Place, A by Rob Gonsalves

Brother of the Year by Jay Seaver

Ant-Man and the Wasp by Jay Seaver

Sorry to Bother You by Peter Sobczynski

Three Identical Strangers by Peter Sobczynski

Whitney by alejandroariera

subscribe to this feed

SONIC DEATH MONKEY Soundtrack Reviews - Ball of Fire

by Natasha Theobald

I don’t usually review soundtracks unless something has been released on CD. It just tends to make the job easier to have most of the music in one place, with the ability to listen time and again before making any sort of judgment. This time, however, I am making an exception. I’ve realized that movie music is about more than the marketing of a few radio-friendly singles or the more specialized ideal of catching on with a soundtrack score-loving crowd. Sometimes movie music is great just because it is so memorable. Here is where I tell you that I can’t get a song from this movie out of my head.

I am a huge fan of Barbara Stanwyck. I have been enamored with her since the first time I saw Double Indemnity. She has such a wicked wit with how she delivers a line and range that most actors couldn’t even fathom, with decades of work as proof. Ball of Fire is just a part of that, as Stanwyck is given the opportunity to sing (Martha Tilton’s dubbed vocals) and dance and fall in love with Gary Cooper in the Howard Hawks directed comedy. The role of Sugarpuss O’Shea gives her sparkling dialogue from the pens of Billy Wilder and Charles Brackett to chew over and eight doting professors, a la the seven dwarves, to charm. And charm she does.

The film calls for Sugarpuss to first gain the attention of Cooper’s professor as she performs for a nightclub crowd. He’s out on the town trying to pick up some slang terminology for a study of it he is doing – very academic. The song is “Drum Boogie,” an infectious, rhythmic exercise so endearing that the crowd asks to hear it again. The first time it is performed with a full-out big band, plenty of brass and a firm drum presence. The second time it is offered in closer quarters, in hushed, chanted tones, around a table and match tapping drummer and Sugarpuss herself. This is a song that I can’t seem to shake, humming and hearing and mumbling the only words of it I can remember, which are “drum” and “boogie.” It is something else.

Gary Cooper doesn’t sing, exactly, but he is party to a love song as sung by the professors. Only one of them seems to have experienced love, having once been married to “Sweet Genevieve.” The love song of the era, circa 1940, becomes part of an enchanting memory, then lilts and sways on the professors’ tongues as they remember and grasp and sing. It is a lovely scene and a charming musical counterpoint to the blazing ruckus of “Drum Boogie.”

And, that’s it. Sugarpuss does teach the fellas that you can’t exactly dance a conga line to polka music, but, other than that, the film is sharp, quick dialogue and the space in between. Maybe that is what makes the music that is used so memorable, something of which contemporary directors may wish to take note. It stands out as special, because it is. It is special and chosen and works beautifully in the space of the film.

That’s SDM for this week. If I haven’t tempted your movie-viewing appetite with this movie in particular, at least try to see something with Stanwyck. In her nearly sixty years onscreen, she did everything from Westerns to soaps to heart-stopping thrillers and, like this, comedy and romance. She is a singular talent, and her work is not to be missed.


link directly to this feature at http://www.hollywoodbitchslap.com/feature.php?feature=1934
originally posted: 09/06/06 12:49:50
last updated: 09/19/06 14:15:12
[printer] printer-friendly format


Discuss this feature in our forum

Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Privacy Policy | | HBS Inc. |   
All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast