R.I.P. James Bond Theme Composer John Barry (1933-2011)

5-time Oscar winning Composer John Barry died yesterday of a heart attack at the age of 77.

Despite being best known for his soundtrack work on 11 James Bond films as well as writing the incredibly famous and much copied "James Bond Theme", Barry's Academy Award wins were for his scores and songs for BORN FREE (won both Best Score and Best Song), THE LION IN WINTER, OUT OF AFRICA, and DANCES WITH WOLVES.

Over the course of his 50 year career, Barry lent his distinctive touch to tons of movie and television projects, the last being the Dougray Scott/Kate Winslet drama ENIGMA in 2001.

Raleigh News & Observer music critic David Menconi wrote today that Barry "created some of the most iconic scores Hollywood has ever heard, none more so than 1967's 'YOU ONLY LIVE TWICE (an orchestral hook later used to good effect on English pop star Robbie Williams' 1998 hit single 'Millennium')."

Many Raleigh residents have been enjoying Barry's 007 scores via the Colony Theater's revival series "James Bond Originals" which has presented 35 millimeter prints of the fan favorites the Thursday of every month since June last summer.

As 1973's LIVE AND LET DIE (showing on February 24th) has Beatles producer George Martin taking on the composing duties, 1974's THE MAN WITH THE GOLDEN GUN (March 31st) will be the next in the series to feature a John Barry/James Bond score.

Incidentally as a kid I like many thought that singer/composer Monty Norman had written and arranged the "James Bond Theme" which first appeared in DR. NO (1962). This was because Norman was credited for it on many of the original soundtrack records.

A few lawsuits have occurred over the credit with both composers claiming authorship, but as Barry pointed out he was invited back to score many of the following films and Norman wasn't.

R.I.P. John Barry.

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BLUE VALENTINE: The Film Babble Blog Review

BLUE VALENTINE (Dir. Derek Cianfrane, 2010)

It's billed as "a love story", but BLACK VALENTINE is more accurately a toxic love story.

As a couple in the final stages of their marriage, Ryan Gosling and Michelle Williams go through the messy motions and as the film cuts back and forth from the beginning of their relationship to the present we see that they were doomed from the start.

In the present Gosling and Williams (who also co-executive produced the film) have a 4 year old daughter (Faith Wladyka) and live a fairly unremarkable existence in Pennsylvania- he paints houses; she works as a nurse.

In the past Gosling worked for a Brooklyn moving company and met Williams in a nursing home he was re-locating a senior to. Williams, there visiting her grandmother (Jen Jones) has a giggly spark when first meeting her later beau, and before long they're an item much to the chagrin of her former lover (Mike Vogel).

Williams is pregnant with Vogel's baby so there's that too.

In several sequences like one set in a blue-lit future-themed hotel room where Gosling hopes to re-ignite the couple's dying flame get into some emotionally wretching territory, but the film never wallows in misery.

Sometimes feeling like a series of sad snapshots of a doomed romance, "Blue Valentine" captures the tone and uneasiness of fading affection without a false move.

It's surprising that Williams got a Oscar Nomination for her work here and Gosling didn't. Don't get me wrong - William's nom is well deserved, but Gosling's restless intensity definitely equals hers.

A great Grizzly Bear soundtrack and graphic instances of sex and violence are intertwined inside the abstract construction of this film, but I bet what will linger more in the memory will be the raw moments between Gosling and Williams where they ache together yet still can not connect.

Like a heart made out of barbed wire, BLUE VALENTINE really stings.

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Blu Ray/DVD Review: CATFISH

I missed this film, referred to by some as "the other Facebook movie", when it played in Raleigh last fall, but just caught it as it's out now on Blu ray, DVD, and available via Amazon Video On Demand. Netflix subscribers will have to wait until next week (February 1st) to rent it because of that damn studio delay deal.

CATFISH (Dirs. Henry Joost & Ariel Schulman, 2010)

There's a little bit of controversy about this film's validity, but the film makers who appear as themselves swear that it's all real.

On the surface it's a documentary about New York photographer Nev Schulman spending months messaging through texts, Facebook posts, and phone-calls a 19 year old girl he met online.

Nev's brother Ariel and friend Henry Joost film with tiny hand held cameras the odd, and frankly creepy, relationship which started with a 8 year old mailing a painting she did of a photograph of Nev's that was printed in the New York Sun.

Nev friends the young girl whose name is Abby on Facebook, then also adds her mother Angela, her father Vince, and sister Megan who all live in Michigan.

Megan, as evidenced by her many photos on her Facebook page, is a pretty blonde and Nev is quite taken with her, that is, until he finds out that an MP3 she sent him if her playing guitar and singing wasn't her - it was taken from a Youtube clip.

Other claims that Megan made don't stand up to much scrutiny so the troubled trio decide to fly to Michigan and confront the mysterious teenager and her family.

This is where the story description has to end because to go on would spoil the film's supposed big twist - the promotional tagline even says: "Don't let anyone tell you what it is."

It would even be a Spoiler! to tell you what the film's title means so I won't do that either.

It's more out of respect for potential viewers of this film than for the film itself that I won't give it away. CATFISH is fairly involving as it builds to the reveal, but it really doesn't amount to much once it gets there.

It doesn't have insights into what's really hidden behind a Facebook profile or what the addiction of connectivity is doing to society, it pretty much only has whining strivers thinking a pathetic situation deserves documentation.

In one of the key scenes the puzzled protagonists approach Megan's mother's house. Mark Motherbaugh's soundtrack music, mostly effective in other places in the film, gets maddening with the same ominous piano key note being hit over and over. It's an annoying scene that sums up the manipulative methods at play.

If CATFISH is 100% real then it's much ado about nothing; if it's scripted and pre-arranged then it's, well, kinda stupid. These guys aren't completely without compassion, but their film feels as about as cheap as it looks.

Special features: Only a 25 minute Q & A with the film makers.

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