
There has yet to be a Wes Anderson film I haven’t liked on some level, including this dusty desert tale-within-a-tale.

There has yet to be a Wes Anderson film I haven’t liked on some level, including this dusty desert tale-within-a-tale.

There are so many reasons to admire this cleverly intertwined tale of tragic lovers, yet I’d scarcely know where to start praising Louis Malle’s evocative cornerstone of the French New Wave were this post not focused on its trendsetting score.

Some months back I picked this up for a penny under $4 at the wonderful downtown must-go treasure trove @lastbookstorela for two specific reasons:

Roughly a decade ago the archivists at Disney put out a comprehensive 2CD ‘Legacy Collection’ of this soundtrack that captures not only the cute flick’s complete score for the first time but also extras from the studio’s legendary songwriting Sherman Brothers that were cut from the finished film, the last to be greenlit by Walt himself.

This may very well be the finest example of pure soundtrack ever created — not merely a collection of tunes and interludes but a truly transporting listening experience capable of conjuring the film’s vivid imagery sight unseen.

That nothing from this wildly original musical was Oscar-nominated — most notably ‘So May We Start,’ which provides one of the most arresting movie openings in recent memory — is a travesty that, like so many other snubs, calls into question the judgments and motivations of voters.

You tell me: should a collector be absolutely precise and file this under N for ‘National Lampoon’s Animal House’ or ease up on being so exact and stick it under A for how it’s commonly known?


For this 38th (!) splash within my deep dive into Christine McVie’s complete catalog, only one song from the soundtrack to Blake Edwards’s largely forgotten comedy A Fine Mess matters: her straightforward yet lovely cover of the Elvis Presley classic ‘Can’t Help Falling in Love.’

The alphabetically-derived timing of this entry in my Sunday Soundtrack series couldn’t be more fortuitous, what with the imminent release of the biopic ‘Back to Black’ here in the States a month after it opened in the UK. I’ll see the flick no matter what, though thus far it’s received middling reviews.