Written and directed by Edgar Wright, Baby Driver is the story of a getaway driver who is being forced to work for a drug kingpin to do a job as things go wrong. The film is an ode to getaway driver film genre with elements of the musical as its protagonist has to listen to music during his job due to damages in his ear. Starring Ansel Elgort, Jamie Foxx, Lily James, Jon Hamm, Jon Bernthal, Eiza Gonzalez, and Kevin Spacey. Baby Driver is an exhilarating and majestic film from Edgar Wright.
The film revolves around a young man who is a getaway driver for robbers as he works under the service of a drug kingpin he owes a debt to as he’s close to finally paying off the debt until he’s given a dangerous job where things become intense. It’s a film with a simple story yet it plays into someone who likes to keep things simple as he listens to different kinds of music when he drives due to the fact that he’s got severe tinnitus in his ears due to a car accident when he was a kid that claimed the life of his parents. His job is to just be a getaway driver and get a small cut for his services and that is it while he lives with a deaf elderly he cares for as he also falls for a waitress at a local diner. Edgar Wright’s screenplay definitely owe a lot to crime and chase films but there’s elements of the musicals and fantasy in the film though it’s all set in this high-octane reality that the film’s titular character (Ansel Elgort) is living in.
Yet, Baby is someone that always carry around an iPod to listen to whatever music to display the mood or environment he’s in as his boss Doc (Kevin Spacey) would call him for an assignment as he would hire the people for the job and all Baby needs to do is drive and listen to the music. Though there would be people that Doc would hire constantly such as the couple Buddy and Darling (Jon Hamm and Eiza Gonzalez, respectively) who like what Baby does. Things change when Doc hires the very psychotic Bats (Jamie Foxx) for a job with two other men with Baby as the getaway driver as it becomes very violent. It’s a chilling moment just as Baby was experiencing something new in his life as he befriends the waitress Debora (Lily James) as they bond through music. Unfortunately, Baby’s attempt to leave his life as a getaway driver has him dealing with Doc about a job that is even more dangerous as it includes the service of Bats who has made Baby very uneasy.
Wright’s direction is definitely stylish not just for its approach to action but also treating it as if it is this unconventional musical with the music from Baby’s iPod as its soundtrack. Shot on location in Atlanta as it is a character in the film, Wright creates a film that uses the city as this modern-day backdrop that is quite grimy yet has an air of excitement in its nightlife and mixture of different cultures in hip-hop, country, and rock. While Wright would use wide shots for not just establishing the locations but also in scenes that play into the world that Baby is in as he has a routine in what he does in the aftermath of a robbery as it’s told in an intricate tracking shot with careful choreography and movement with the help of choreographer Ryan Heffington. Wright’s direction favors more intimate moments in some of the locations in and around Atlanta as well as a few sets and what goes on inside a car which Baby is often behind the steering wheel choosing the right song for the chase. Wright’s approach to the music isn’t to use the music as a crutch to help tell the story but rather as some form of accompaniment to express whatever mood that Baby is in and what he needs to concentrate in his job due to his tinnitus.
Wright would also create moments that don’t involve music as it play into the meetings led by Doc about what to do with the job but also these eerie moments that play into the growing tension between Baby and Bats as the former is uneasy about the latter. Wright would create some entrancing compositions that has him put the actors in a certain position for the frame as it help add to some of the drama as well as bits of humor. There are also moments where Wright would inject bits of fantasy in a key scene that play into the sense of hope that Baby wants with Debora but it’s always clashing with this high-octane reality that is quite violent with lots of gunplay and chaos. All of it to the tune of something which feels right for the scene as it also has this offbeat approach to the musical. Overall, Wright creates a sensational and lively film about a getaway driver who uses music as an escape from his life of crime.
Cinematographer Bill Pope does excellent work with the film’s cinematography to capture the look of Atlanta in the daytime exteriors with its sunny and colorful look with some gorgeous lighting for some of the interiors including the scenes set at night. Editors Jonathan Amos and Paul Machliss do incredible work with the editing with its usage of rhythms to help play into the music as well as using fast-cuts for some of the chases without deviating into the chaotic speed-editing of typical action films. Production designer Marcus Rowland, with art directors Nigel Churcher and Justin O’Neal Miller as well as set decorator Lance Totten, does fantastic work with the look of the apartment home that Baby shares with his deaf foster father Joseph as well the place where Doc does his meetings and the diner that Debora works at. Costume designer Courtney Hoffman does nice work with the clothes from the waitress dress that Debora wears to some of the stylish clothing of Darling and Bats.
Visual effects supervisor Shailendra Swarnkar does terrific work with some of the visual effects as it relates to some of the action and chase scenes where it definitely look real without having to do too much in order to make it feel real. Sound designer Julian Slater does amazing work with the sound as it is a highlight of the film in its approach to mixing and editing to hear Baby is hearing in total silence as well as the way sound is presented in certain moments of the film. The film’s music by Steven Price is wonderful for its mixture of low-key electronic music, hip-hop, and orchestral bombast to create a thriving score that help play into the suspense while music supervisor Kirsten Lane creates a phenomenal soundtrack that features an array of music from acts such as Queen, the Jon Spencer Blues Explosion, the Damned, the Beach Boys, Beck, T-Rex, Simon & Garfunkel, Barry White, Young MC, Bob & Earl, Jonathan Richman & the Modern Lovers, Googie Rene, Carla Thomas, Dave Brubeck, Alexis Korner, The Incredible Bongo Band, Martha and the Vandellas, Blur, Focus, Sky Ferreira, the Commodores, Kid Koala, Danger Mouse with Run the Jewels and Big Boi, Sam & Dave, and Golden Earring.
The casting by Francine Maisler is great as it feature some notable small roles and appearances from Killer Mike and Outkast’s Big Boi as a couple of patrons at a posh restaurant, Jon Spencer of the Jon Spencer Blues Explosion as a prison guard, filmmaker Walter Hill as a courtroom interpreter, Lance Palmer as Baby’s father in the flashbacks, Viviana Chavez as a diner waitress, Hal Whiteside as the diner cook, Brogan Hall as Doc’s nephew, Allison King as a mail teller, Andrea Frye as a woman Baby reluctantly carjacks, Hudson Meek as the young baby in the flashbacks, and Sky Ferreira as Baby’s mother in the flashbacks whom he adored. Other notable small yet memorable performances include Paul Williams as a notorious arms dealer known as the Butcher, Red Hot Chili Peppers bassist Flea and Lanny Joon as a couple of robbers working with Bats, Jon Bernthal as a robber in the first heist in Griff who often questions Baby’s role in the robbery, and CJ Jones as Baby’s deaf foster-father Joseph whom Baby communicates with through sign language and music. Eiza Gonzalez is fantastic as Darling as a smooth-talking yet cool woman who can throw down as well as be quite scandalous as she is also Buddy’s wife.
Jon Hamm is excellent as Buddy as a man that loves to rob banks and get its rewards as he also loves his wife Darling where it shows what kind of man he is when he knows she’s been harmed. Kevin Spacey is brilliant as Doc as a drug kingpin who is Baby’s boss as a man who doesn’t bullshit as Spacey brings a dry-wit to his performance where he can be intimidating but also sympathetic. Lily James is amazing as Debora as this kind-hearted diner waitress who befriends Baby where they share an interest for music as well as wanting a life with no complications. Jamie Foxx is incredible as Bats as this very ruthless and psychotic criminal who has no qualms in killing people in order to get his money as he likes what Baby does but also despises Baby for his sense of morals. Finally, there’s Ansel Elgort in a remarkable performance as Baby as this getaway driver with severe tinnitus in his ears which he drowns out through music as he copes with being in the world of crime and his desire to get out to start a new life only to be put into a situation that is troubling as it’s a very restrained yet charismatic performance from Elgort.
Baby Driver is a spectacular film from Edgar Wright. Featuring a great cast, a phenomenal music soundtrack, a thrilling script, amazing locations, and top-notch work in the editing and sound. It’s a film that is very unconventional in its blend of action, suspense, humor, and music as it plays with all sorts of genre while being something that is totally of its own. In the end, Baby Driver is a tremendous film from Edgar Wright.
Edgar Wright Films: (A Fistful of Fingers) - Shaun of the Dead - Hot Fuzz - Scott Pilgrim vs. the World - The World's End
© thevoid99 2017
Directed by Dick Lowry and written by Stuart Birnbaum and David Dashey, Smokey and the Bandit Part 3 is the third and final film of the Smokey and the Bandit series in which Buford T. Justice is asked to transport a large shipment for the Burdettes for a large sum of money where he finds himself having to compete with the Snowman who has become the new Bandit. The film is another rehash of the previous films but this time has Smokey sort of becoming the Bandit as Jackie Gleason reprises his role as Justice with Jerry Reed playing the Snowman who becomes the new Bandit. Also starring Paul Williams, Paul McCormick, Colleen Camp, and Mike Henry as Junior Justice. Smokey and the Bandit Part 3 is a messy and uninspired film from Dick Lowry.
The film revolves around Buford T. Justice being asked to carry a plastic shark on his car by the Burdettes for $250,000 to drive from Florida to Texas to promote their new fish-and-chips eatery. It’s a task Justice will do as he becomes unsatisfied with retirement as he brings along his dim-witted son Junior for the ride yet they’re unaware that the Burdettes are doing whatever they can to make sure Justice doesn’t succeed as they bring in the Snowman to play the Bandit who is later joined by a bookkeeper at a used car shop named Dusty (Colleen Camp) who also goes for the ride. It’s a film that is essentially a rehash of its predecessors where there’s a lot of chases and hilarity yet the screenwriters never bring anything new as the jokes aren’t funny and some of the situations are just downright silly. Though Justice remains the most interesting character in the story, everyone else is just the same while the Snowman as the Bandit is just lazy as he never brings anything new to the story either.
Dick Lowry’s direction does start off nicely with this parody of sorts of Patton where Justice is announcing his retirement in a ceremony as is quite lavish but also funny as it would lead to a montage of Justice’s attempt at retirement. After that, the film goes downhill where it does become this very long chase film with very little breaks in the action as there’s a lot of silliness involving Big and Little Enos Burdette (Pat McCormick and Paul Williams, respectively) in their attempts to foil Justice so that he loses the best and Little Enos gets Justice’s badge as a belt buckle. While it is largely shot in Florida, the film never does enough to establish a sense of location while many of the shots never do anything visually as Lowry is more about action and more action and how silly can some of the destruction can get. Even as the chases become ponderous and almost nonsensical while some of the shenanigans get more ridiculous. Overall, Lowry just creates a film that never does anything new as well as remind audiences of the glory of its predecessors.
Cinematographer James Pergola does nice work with the cinematography as it is colorful to play into the locations though it is clear that there is a different look in the way Snowman is presented as well as Justice which does show that there were some re-shoots. Editors David E. Blewitt, Byron “Buzz” Brandt, and Christopher Greenbury do OK work with the editing as it has a few inspiring moments but relies too much on fast-cuts for much of the chase and action where it becomes nonsensical. Art director Ron Hobbs and set decorator Don K. Levy do some fine work with the look of motel that many of the characters would go to along with the Burdettes‘ home. Costume designer Linda Benedict-Pierce does terrific work with the costumes from the stylish clothes of the Burdettes to the look of the Bandit. Sound editor John Stacy does superb work with the sound in the way the cars sound and all of that stuff. The film’s music by Larry Cansler is just bland as it is largely a country-inspired soundtrack with songs from Lee Greenwood, Ed Bruce, John Stewart, and Bill Summers as it is just exposition and rehashes of other songs.
The film’s cast feature a few notable appearances from Sharon Anderson as a policewoman trying to bust Justice, Raymond Bouchard as an eager sheriff trying to catch the Bandit, and Faith Minton as a nymphomaniac who falls for Justice as they’re just small but silly performances. Pat McCormick and Paul Williams in their respective roles as the father-son duo Big and Little Enos Burdette were good in small doses but their appearances become grating in the film while Mike Henry’s performance as Junior Justice is just more idiotic as it’s just unbearable to watch. Colleen Camp is alright as Dusty as a woman who joins Cledus for the ride where she’s not given much to do as she’s just a passenger.
Jerry Reed is terrific as Cledus aka the Snowman who becomes the Bandit as it has his moments but Reed is never given the chance to do a lot but pretend to be the Bandit. Finally, there’s Jackie Gleason in an excellent performance as Buford T. Justice aka Smokey as the sheriff who is given a chance to go on a final ride and keep his badge while coping with the downside of retirement as Gleason is the best thing in the film knowing how to be funny.
Smokey and the Bandit Part 3 is a terrible film from Dick Lowry. Despite Jackie Gleason’s enjoyable performance, the film is just a lazy rehash of its predecessors where nothing new is brought to the table while characters who were good in small doses become bigger for no good reason. In the end, Smokey and the Bandit Part 3 is just a horrible film from Dick Lowry.
Related: Smokey and the Bandit - Smokey and the Bandit II
© thevoid99 2016
Directed by Hal Needham and screenplay Jerry Belson and Brock Yates from a story by Michael Kane, Smokey and the Bandit II is the sequel to the 1977 film in which the Bandit and the Snowman are asked to transport an elephant to the GOP National Convention in Texas from Miami with the aid of Frog as they’re once again pursued by Buford T. Justice aka Smokey. The film is another adventure of fun and car chases in the South where the Bandit tries to go for another ride as well as deal with some issues as Burt Reynolds reprises his role of the Bandit and Jackie Gleason once again playing Smokey. Also starring Sally Field, Jerry Reed, Mike Henry, David Huddleston, Pat McCormick, Paul Williams, and Dom DeLuise. Smokey and the Bandit II is a wild yet adventurous film from Hal Needham.
The film is sort of a rehash of the first film where the Bandit is being asked to transport an elephant to the GOP National Convention in Texas where he will be paid lots of money as he also has to endure the pursuit of Smokey and his dim-witted son Junior (Mike Henry). Yet, the situation is different as it relates to Big Enos Burdette (Pat McCormick) trying to run for governor of Texas with help from his son Little Enos (Paul Williams) as they deal with their rival candidate John Coen (David Huddleston) where things had gotten ugly. The Burdettes are trying to get the Bandit to help them but the Bandit has become a drunken, washed-up mess who is dealing with heartbreak and the downside of fame. The film’s script doesn’t just explore the Bandit trying to get back in the game with help from his friend Cledus aka Snowman (Jerry Reed) and ex-girlfriend Carrie aka Frog (Sally Field).
Once they learn what they have to transport and get some help from an Italian doctor in Doc Carlucci (Dom DeLuise), the stakes get much higher as it adds to the Bandit thinking more about himself rather than this elephant. The Bandit’s selfishness lead to some tension but also some issues that relates to the Bandit who is still trying to coast on his fame without really thinking about the fact that not everyone likes him. It is a harsh reality that the Bandit has to face while knowing that he is still being pursued by Smokey who has called on some help from his brothers Reggie and Gaylord (both played by Jackie Gleason) for a wild climax.
Hal Needham’s direction is quite lavish for its big action sequences and moments that are quite spectacular as it includes a massive climax involving lots of police cars and trucks. Yet, the film is more grounded where even though Needham uses a lot of wide and medium shots for many of the film’s locations as much of it is set in Florida with a few shots in Texas and Georgia. Needham’s usage of close-ups and some of the medium shots to focus on the characters where they would rest for a while would really be the meat of the film as it showcased characters coping with their situations. Even as there’s a scene where a gas station attendant thinks the Bandit is an asshole as the Bandit takes offense to that as it does add to some of the reality in the film. Needham does manage to balance that reality with some humor where some of it is lowbrow from the opening sequence the Burdettes and their rival do outlandish things to humiliate each other. It all plays into some of the hilarity that occurs throughout the film as it is all about a chase and a trooper trying to get some revenge. Overall, Needham creates a fun and exhilarating film about a trooper trying to catch a trucker.
Cinematographer Michael Butler does excellent work with the film‘s cinematography as it is colorful as it plays into the vibrancy of the locations in Florida along with some unique lighting for some of the scenes at night and in some of the interiors in the truck. Editors Donn Cambern and William Gordean do nice work with the editing as it is straightforward with some stylish rhythmic cuts to play into the humor and action. Production designer Henry Bumstead, with set decorator Richard J. DeCinces and art director Bernie Cutler, does fantastic work with the look of the truck interior as well as some of the places the characters go to.
Carrie’s costumes designed by Bob Mackie are amazing from the wedding dress she wears to some of the stylish clothes she would wear during her trip as it play to her sense of style as opposed to the more cowboy look of the Bandit. Sound editor Gordon Davidson does terrific work with the sound as it is natural with some sound effects that help play into the action. Snuff Garrett does wonderful work with the film’s soundtrack that includes a few country-inspired score pieces by Garrett as well as a lot of country music from Jerry Reed, the Statler Brothers, Tanya Tucker, Mel Tillis, Burt Reynolds, Brenda Lee, and Don Williams.
The film’s superb cast include cameo appearances from Brenda Lee as woman attending the wedding, the Statler Brothers and Don Williams as themselves, Chuck Yeager as a party guest, Mel Tillis as a fairgrounds owner, and football legends “Mean Joe” Greene and Terry Bradshaw as themselves helping out the Bandit. John Anderson is terrific as the Texas governor who is angry over the mud-slinging between Coen and the Burdettes while David Huddleston is fantastic as the Burdettes’ opponent in John Coen who decides to humiliate them in the worst way. Mike Henry is wonderful as Justice’s dim-witted son Junior who is once again left in the altar by Carrie as he would say some dumb-ass things. Pat McCormick and Paul Williams are excellent in their respective roles as Big and Little Enos Burdette as the father-son duo where the former is trying to run for governor and pay off the Bandit and Snowman money to do a job for them in three days.
Dom DeLuise is hilarious as Doc Carlucci as an Italian doctor who is asked to help watch over the elephant Charlotte as he provides some nice comical moments that is fun to watch. Jerry Reed is brilliant as the Snowman who would convince the Bandit to do the job as he would name the elephant as he becomes fond of her where he realizes there is much more at stake instead of money. Sally Field is amazing as Carrie aka Frog as the Bandit’s former flame who joins the job for money while she tries to understand what is wrong with the Bandit while becoming concerned for the elephant Charlotte where she gives the Bandit a hard dose of reality. Jackie Gleason is phenomenal in a trio of roles as Buford T. Justice aka Smokey as well as his brothers in the effeminate Gaylord and the opera-loving Mountie Reginald where Gleason provides a lot of humor and hilarious comments as it’s one of his finest performances. Finally, there’s Burt Reynolds in a marvelous performance as the Bandit as the trucker who is dealing with heartbreak as he copes with doing his job but also attain that status as an icon not knowing that not everyone likes him where it’s a performance that has Reynolds be funny but also display some humility.
Smokey and the Bandit II is an excellent film from Hal Needham. Though it isn’t entirely original as it sort of rehashes everything. It is a film that is all about a lot of fun as it involves elephants, big chases, and all sorts of crazy shit. In the end, Smokey and the Bandit II is a superb film from Hal Needham.
Hal Needham Films: Smokey and the Bandit - (Hooper) - (The Villain (1979 film)) - (Death Car on the Freeway) - (The Cannonball Run) - (Megaforce) - (Stroker Ace) - (Cannonball Run II) - (Rad) - (Body Slam)
Related: Smokey and the Bandit Part 3
© thevoid99 2016
Directed by Hal Needham and screenplay by James Lee Barrett, Charles Shyer, and Alan Mendel from a story by Needham and Robert L. Levy, Smokey and the Bandit is the story of a trucker who is helping to carry some bootlegged beer from Texas to Georgia as he’s being chased by a highway state trooper. The film is a mixture of the chase film and the car movies all set in the American South where a lot of things ensue. Starring Burt Reynolds, Sally Field, Jerry Reed, Mike Henry, Paul Williams, and Jackie Gleason as Sheriff Buford T. Justice. Smokey and the Bandit is an exhilarating and exciting film from Hal Needham.
Set in the American South, a trucker and his friend are asked to travel to Texarkana, Texas from Atlanta to carry and transport 400 cases of Coors Beer, which is illegal to sell east of Texas, back to Atlanta in the span of 28 hours where they will be paid $80,000. That is pretty much what the film is about where a trucker is driving a black Trans Am as a blocker while his friend would drive the 18-wheeler truck to carry all the beer as they’re later chased by a Texan highway state trooper who is angry that his son’s bride has jilted them and join this charming trucker. It’s a film that is a road movie but also a chase movie, a buddy comedy, and a romance as it meshes a lot of genres but do it with such style.
The film’s script doesn’t just play into the events of the chase but also what the Bandit (Burt Reynolds) is doing it for though there is that risk of failure as he has to drag along his friend Cledus (Jerry Reed) to drive the truck who takes his dog Frank with him. Upon picking up Carrie (Sally Field) on the way back, the Bandit finds himself dealing with all of these patrolmen but also Sheriff Buford T. Justice of Texas whose son was supposed to marry Carrie but is jilted at the altar. During the course of the chase, there is this grudging respect between Justice and the Bandit where the latter sees the former as a formidable adversary. Though Justice has no idea what the Bandit is doing, the fact that the Bandit has Carrie just riles him up as he’s kind of this idea of the old school ideals as it’s something the Bandit actually respects.
Hal Needham’s direction is quite stylish in terms of the crazy stunts and chase sequences that are created. Shot largely in Georgia with a few set pieces shot in California, the film does have this look and feel that is very Southern from its trees and rivers as well as some of the locations where it featured restaurants and people that really defined the South. Needham’s compositions are quite simple with its usage of wide and medium shots to capture the location while the close-ups help play into the intimacy and some of the humor. Even as he knows when to give some of the moments set on the road a few stops where it’s about the characters as it helps build the relationship between the Bandit and Carrie. There’s also elements of the comedy that are quite unconventional in the fact that Justice isn’t some foil but rather a man that doesn’t take shit from anyone no matter what the situation is. All of which plays into a chase involving a runaway bride and 400 cases of Coors in a hilarious yet adventurous film. Overall, Needham creates a fun and thrilling film about a trucker going from Georgia to Texas and back in the span of 28 hours.
Cinematographer Bobby Byrne does excellent work with the film‘s cinematography as it‘s very colorful to play into the look of the American South with its many locations as much of the film is shot in the day with only one sequence shot at night. Editors Walter Hannemann and Angelo Ross do nice work with the editing as it is largely straightforward with its rhythmic cuts to play into the action and humor. Art director Mark W. Mansbridge and Anthony C. Montenaro do terrific work with the look of the sets from the place where the beer was at as well as the design of Justice‘s car in its ruined state as well as a few places in the film. The sound work of John Speak and Ray West, with sound editor Anthony Magro, are superb for some of the sound effects of the cars and trucks as well as some of the moments in parties and gatherings. The film’s music by Bill Justis and Jerry Reed is amazing as its country-based music and score play into the world that is the American South with some songs that help tell the story.
The casting by Jennifer Shull is great as it feature some notable small roles from Alfie Wise as an Alabama state trooper, Susan McIver as a friend of the Bandit called Hot Pants, and George Reynolds as a sheriff that tried to catch the Bandit only to be foiled by the Bandit and Justice. Pat McCormick and Paul Williams are fantastic as the father-son duo in their respective roles as Big and Little Enos Burdette as two wealthy Texans trying to hold a shindig in Georgia and want the Bandit to bring them Coors. Mike Henry is terrific as Justice’s son Junior who is this dim-witted moron that Carrie was supposed to marry as he just tries to help his daddy in the most idiotic ways. Jerry Reed is excellent as the Bandit’s friend Cledus Snow aka Snowman as the Bandit’s friend who reluctantly drives the big 18-wheeler truck with his dog Frank as he deals with bikers and all sorts of shit that is happening while knowing that the Bandit will always have his back.
Jackie Gleason is amazing as Sheriff Buford T. Justice aka Smokey as a highway patrolman that tries to go after the Bandit as it’s just a performance that is really funny as well as showing Gleason not afraid to be the foil but also prove that there is something about him that can be admired as it’s really an iconic performance. Sally Field is brilliant as Carrie aka Frog as this runaway bride who realized she is about to marry the wrong man as she befriends and falls for the Bandit while being very funny and be able to handle herself. Finally, there’s Burt Reynolds in a marvelous performance as Bo Darville aka the Bandit as this charming and calm trucker who can drive very fast while being someone that has some honor and tries to do what is right as it’s a comical but fun performance.
Smokey and the Bandit is a phenomenal film from Hal Needham that features great performances from Burt Reynolds, Sally Field, and Jackie Gleason. The film is just an entertaining and raucous road-chase film that is all about fun, beer, chicks, and all sorts of fun shit. It’s not high-art cinema nor does it need to be as it knows what it is and gives the audience wanting to have a good time. In the end, Smokey and the Bandit is an incredible film from Hal Needham.
Hal Needham Films: (Hooper) - (The Villain (1979 film)) - (Death Car on the Freeway) - Smokey and the Bandit II - (The Cannonball Run) - (Megaforce) - (Stroker Ace) - (Cannonball Run II) - (Rad) - (Body Slam)
Related: Smokey and the Bandit Part 3
© thevoid99 2016
Directed and shot by Herve Martin-Delpierre and written by Martin-Depierre and Marina Rozenman, Daft Punk Unchained is a documentary about the seminal French electronic duo who are considered the forefathers of the modern wave of electronic dance music. From the band’s early years as part of the alternative band Darlin’ to becoming icons in electronic music, the film doesn’t just play into their work as artists but also maintain a sense of mystique about them as they rarely do interviews as well as not make any kind of public appearances unless they’re wearing costumes as robots. The result is a fascinating film about one of the finest groups to ever come out in the world of electronic music.
From their formation in 1993 after being part of the French alternative rock group Darlin’ with future Phoenix-cofounder Laurent Brancowitz, Thomas Bangalter and Guy-Manuel de Homem-Christo would form the duo known as Daft Punk based on a review for their band as well as going to raves which were hot in those times. The film plays into not just their early beginnings but also the sense of mystique that has loomed over the band ever since the late 1990s where they started wearing masks and such to avoid what is typical of promotion in those days. On the first day of the new Millennium, the two would wear masks and such claiming they have become robots as it only increased their mystique even more as well as being more inaccessible to the press where they’re rarely seen unmasked.
Featuring interviews with collaborators such as Kanye West, Giorgio Moroder, Paul Williams, Nile Rodgers, Pharrell Williams, and filmmaker Michel Gondry. The film plays into not just their influence but also the albums they made and why they didn’t want to play by the rules with the industry. While they would use videos to promote their music, it would be their legendary performance at the 2006 Coachella Music Festival in Indio, California that would make them a very popular live act. The film also features rare audio interviews with Daft Punk that only adds more to their mystique. Director Herve Martin-Delpierre would also compile many rare archival interviews with the group before their decision to mask themselves as well as play into many of the stunts and such that played into their music and how they presented it.
Especially as prominent EDM figures such as Pete Tong and current EDM star Skrillex reveal exactly what Daft Punk has done for the genre. Through some stylish editing and the usage of music that had influenced Daft Punk including film footage from Brian de Palma’s Phantom of the Paradise. While many who talk about Daft Punk revel into their importance, it all plays into what the group is really about which is making good music and making it matter no matter if it’s retro or innovative.
Daft Punk Unchained is an excellent film from Herve Martin-Delpierre. Not only is it a film that fans of the group will enjoy but also will introduce those unfamiliar with electronic music the group’s importance for the genre. In the end, Daft Punk Unchained is a superb film from Herve Martin-Delpierre.
© thevoid99 2015
