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I also assumed that was Reni Santoni in the Mann Bruin scene but I couldn't find his name connected with the film anywhere. Coming right after Clu Gulager's cameo it would have been a nice double blast-from-the-past. (I used to see Gulager in the front row at the New Bev all the time but I never see him there anymore).
Seeing the Bruin in the film makes me picture OUAT...IH as a (long) double feature with Zodiac. I saw Zodiac two Saturdays in a row at the Bruin, and in the film my favorite departed LA theater, the Mann National, portrayed (the interior of) my favorite departed SF theater, the Northpoint.
Regarding aesthetic anachronism, it occurred to me before I saw the later posts that pretty much any great Biblical score (Rozsa, Newman, Bernstein, Herrmann, Waxman) is anachronistic by those standards since that style of music did not exist in that era. But much as I enjoy that genre of epic, they'd be a lot less enjoyable without those spectacular scores.
One area of aesthetic anachronism (sorry for overusing that phrase -- I'm not trying to make it "a thing," it just seems germane in these cases) that gets more attention is digital cinematography, such as that smeary look Michael Mann gave Public Enemies which a lot of people found distracting (I found it more ugly). Certainly in the earlier days of digital cinematography, there were films like Factory Girl and The Other Boleyn Girl where that visual slickness distracted from the period setting.
Though it didn't get to me emotionally as a movie, I thought Todd Haynes' Carol was a remarkable cinematic recreation of its era (an era before my time), partly because the softness of the Super 16 photography felt aesthetically correct (the sound mix was also a big factor).
Are you saying that the Bruin is called the Mann Bruin in this film? Because Mann didn't buy it until 1973. So, what is gained by all the historical inaccuracy? Is it just a little self-masturbation for Mr. Tarantino so he can work in all his childhood stuff? There was no Pussycat Theater on Hollywood Blvd. in that location until 1975 - in 1969 it was the New View. There was no Peaches records in Hollywood in 1969. I mean, if you're going to all that trouble in the set design, why purposely (and it has to be purposely) get all those details WRONG?
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" self- masturbation"?
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" self- masturbation"?
As opposed to mastubating others - been known to happen, you know.
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I also assumed that was Reni Santoni in the Mann Bruin scene but I couldn't find his name connected with the film anywhere. Coming right after Clu Gulager's cameo it would have been a nice double blast-from-the-past. (I used to see Gulager in the front row at the New Bev all the time but I never see him there anymore).
Seeing the Bruin in the film makes me picture OUAT...IH as a (long) double feature with Zodiac. I saw Zodiac two Saturdays in a row at the Bruin, and in the film my favorite departed LA theater, the Mann National, portrayed (the interior of) my favorite departed SF theater, the Northpoint.
Regarding aesthetic anachronism, it occurred to me before I saw the later posts that pretty much any great Biblical score (Rozsa, Newman, Bernstein, Herrmann, Waxman) is anachronistic by those standards since that style of music did not exist in that era. But much as I enjoy that genre of epic, they'd be a lot less enjoyable without those spectacular scores.
One area of aesthetic anachronism (sorry for overusing that phrase -- I'm not trying to make it "a thing," it just seems germane in these cases) that gets more attention is digital cinematography, such as that smeary look Michael Mann gave Public Enemies which a lot of people found distracting (I found it more ugly). Certainly in the earlier days of digital cinematography, there were films like Factory Girl and The Other Boleyn Girl where that visual slickness distracted from the period setting.
Though it didn't get to me emotionally as a movie, I thought Todd Haynes' Carol was a remarkable cinematic recreation of its era (an era before my time), partly because the softness of the Super 16 photography felt aesthetically correct (the sound mix was also a big factor).
Are you saying that the Bruin is called the Mann Bruin in this film? Because Mann didn't buy it until 1973. So, what is gained by all the historical inaccuracy? Is it just a little self-masturbation for Mr. Tarantino so he can work in all his childhood stuff? There was no Pussycat Theater on Hollywood Blvd. in that location until 1975 - in 1969 it was the New View. There was no Peaches records in Hollywood in 1969. I mean, if you're going to all that trouble in the set design, why purposely (and it has to be purposely) get all those details WRONG?
I think QT regards himself as Chuck Norris in that joke -- Chuck Norris doesn't wear a watch because HE decides what time it is.
I think the anachronisms are just laziness. The act of writing is laborious, lonely and frustrating. Lazy writers don't feel motivated to revise anything once it's down on paper -- they consider it set in stone. The INGLORIOUS BASTERDS script was leaked online and among all the misspellings people noted the title itself. QT then claimed that was deliberate. That seemed improbable but he went with it.
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I referred to it as the Mann Bruin because when I lived in and around Westwood from 1982 to 1999, that's what it was called. It wasn't an indication of what Tarantino calls it in the film.
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Scott Bettencourt's recollections are more interesting than the film Tarantino made.
You're kind but I REALLY liked the movie, though probably mostly for its time capsule elements (I was an seven/eight-year-old in Northern California when the film takes place, but its use of the pop culture of the era was highly evocative for me.). I expect to see it another one or two times this summer so I'll have a better idea of how I feel about it.
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" self- masturbation"?
As opposed to mastubating others - been known to happen, you know.
Then it isn’t called masturbation. That is by definition doing it to yourself. Like in ‘suicide’, only on the other end of the spectrum, I guess :-/
Eggzactly!
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I think that the theater marquee said Bruin, not Mann's Bruin.
Yup, it's just "Bruin."
Seeing OUATIH a second time tonight helped me note more clever bits, some of them musical:
* When Margaret Qualley's teenage Manson girl tries to (unsuccessfully) seduce the worldly Brad Pitt, the car radio is playing Dee Clark's "Hey Little Girl."
* Roman Polanski and Sharon Tate ride out in their convertible for an evening on the town. As Deep Purple's "Hush" blares on their radio, there is a gorgeous slow motion shot of Margot Robbie as Sharon shaking her hair loose in the night air during the line, "No doubt about it, she looks so fine. She's the best girl that I ever had..."
* In February 1969, Sharon and Jay Sebring are listening to Paul Revere and the Raiders' "Hungry" when none other than Charles Manson stops by their place looking for Terry Melcher and Dennis Wilson. Sebring sends him on his way, but not before Manson looks back and sees Sharon standing in the doorway. The chugging chords in this pop ditty take on a sinister sound, foreshadowing what we all know will happen at this address a few months later.
* A grim "sound pun": When Pitt meets "Squeaky" Fromme at the Spahn Ranch, there is a rat caught in a trap....yes, it's squeaking.
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I'm not sure how complete and accurate IMDB's soundtrack list is....
https://www.imdb.com/title/tt7131622/soundtrack?ref_=tt_trv_snd
...but I note they list Herrmann's music from Have Gun Will Travel as well as cues from his unused Torn Curtain score.
I was telling a friend that this is that rare Tarantino film with no Morricone needle-drops, but IMDB lists the cue "The Bed" from Diabolik. I'll have to see if I can track that down so I can identify where it's used in ...Hollywood. There's a Bruno Nicolai cue used as well.
The Jarre Roy Bean, Schifrin Mannix, and Bernstein The Great Escape music have all been noted earlier in this thread.
Obviously, Hugo Montenegro's The Wrecking Crew score is heard in this as several scenes from that movie are shown.
Does anyone know where the Francesco De Masi cues are from? I'm not familiar with that composer.
Here's an unexpected film score source: the 1981 Cattle Annie and Little Britches by Tom Slocum.
There is a splendid Western-styled cue when the character of Tex rides his horse back to the Spahn Ranch. I'm hoping to track it down - it could be either the Cattle Annie excerpt or one of the De Masi cues.
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Does anyone know where the Francesco De Masi cues are from? I'm not familiar with that composer.
They are from the Italian westerns "Any Gun Can Play" (aka Vado...l'ammazzo e torno, 1967 - track: Mexico western) and Sartana Does Not Forgive (aka Sartana non perdona, 1968 - track: Ecce homo).
The somber ballad with solo spanish guitar was actually reused in Sartana non perdona. There's a live version of this track on a CD compilation with Alessandro Alessandroni, but there it's called "Kill them all and come back alone", which is a bit strange since that's the title of another western by the same director (Enzo G. Castellari), also scored by De Masi.
Thank you! IMDB didn't mention the source films for some reason.
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