My all time favourite single take scene in movies.
I can hardly believe that only 300,000 have viewed this at the time of writing.
It’s a piece called Truth by Kamasi Washington and please find 14 minutes in your life to watch this on fullscreen at full volume.
For those of you who don’t know, Kamasi Washington is an American Jazz Saxophonist and has worked extensively with Kendrick Lamar (on to Pimp a Butterfly. the best album of 2015) and many others.
It’s the final movement in a five movement piece conceived for the Whitney Museum in New York’s 2017 Biennial called Harmony of Difference and the film was directed by A G Rojas , a Barcelona based film director who’s also made videos for the likes of Jack White.
The centrepiece of the film fits the slow movement, within the movement as a whole, and features the longest, slowest zoom and pan you will ever see. Orson Welles would be proud of it.
I first heard this on the amazing Giles Peterson show on BBC 6 Music (it’s a treasure trove of beautiful, jazz, jazz influenced and electronica that makes a Saturday afternoon a very fine thing – or listen to his show in download form on the BBC iPlayer).
Incidentally for the sharp eared among you the central six note theme (that’s introduced on the guitar) is virtually identical to Gorgeous George by Edwin Collins. Not that I am criticising this, but it was nagging away at me as to what I knew it from.
The poster says that Baby Driver is the coolest movie of the summer. I don’t know that that aspiration is king size but in my view it fails to achieve even those unlofty heights.
It is QUITE cool but it’s reliance on music as a key plot device requires the music to be cool as…
The anchor song, Queen’s Brighton Rock, isn’t even Queen’s coolest song. Not by a long way.
The title credits, where our hero (Baby) walks the streets of Atlanta to the sound of Harlem Shuffle is clever as the lyrics pop up as street graffiti, shop names and so on but it’s trying soooo hard.
The car chases are invariably high quality but I felt some of the casting was a bit gash. Love interest, Lily James, doesn’t cut the mustard and Baby (Ansel Elgort) created no real empathy.
But the biggest crime is the OST.
Come on guys you could have done better than that.
Apart from Hocus Pocus by Focus and Egyptian Reggae by Jonathan Richman it was just kind of meh! It ain’t no Tarantino soundtrack.
Now THAT’s cool.
Jamie Foxx is largely unintelligible. But John Hamm and Kevin Spacey put in good, professional efforts.
This movie aspires to coolness, but it left me a little cold.
John Denholm is the master of story telling. He nails it here on Facebook.
I’m indebted to George Peebles for recounting the story of David Francey who was commentating on a Celtic match in Europe in the sixties.
In a rare moment of non-concentration he missed a goal against Celtic by a Romanian player.
Asking his sidekick for details of the scorer he was met with the response “Fucked If I know”.
His commentary then went “And the scorer was the big blond striker, Fuktifano.”
Singing at Gus Harrower’s EP launch.
This is Gus…
and this is Hayley…