I saw this movie again as part of my coverage of MoMA's "Jazz Score" exhibition this past summer. Just as creepy and bizarre as it was when it was released. As with a lot of Cronenberg, there are some very disturbing scenes. But the score was one of the best I came across from the jazz exhibition. Though it didn't make the cut for discussion in my articles, it's only because it didn't fit any of the "themes," certainly not because of a lack of quality. This is one of the few out of the 50+ scores and films I studied where I actually went out and purchased the CD. I'm with you, Onya Birri. The way Shore and Coleman mesh makes for a fascinating mix. And you couldn't have put it better: "Really creepy atmospheric stuff."
Can't really stomach it. The movie gave me a thumping headache and the score is just - well, a racket, to be honest. I'm not a fan of random jazz noise anyway. Shore's best is still THE SILENCE OF THE LAMBS and THE FLY, though somewhat perversely I rather like VIDEODROME.
This is my favourite Shore score. I love Ornette Coleman and we own at least several of his compositions. I talked a little about his style in the "What are your favourite Howard Shore scores" thread. Ornette is not an 'easy' listening experience; he is a complex man and musician of many moods, and will indeed take one on "Toads wild ride" if you will. But in addition to Scanners and The Brood, this ranks at the top of my favourite Shore score.
The film: well, it's quite dark and *I* think Peter Weller does a 'good' job portraying the main character, Bill Lee. Its been a while since I have seen the film, but this thread has piqued my interest.
The whole gestalt is (for me) hard to take -- film, score etc. There are some fascinating moments in the film, to be sure, but I really don't think Burroughs is a writer whose work lends itself well to film. The performances are fine, and Peter Weller is probably as well-suited to play a Burroughs character (himself) as anyone. The visuals are bizarre and not for the squeamish. I found the music obtrusive, irritating and non-contributory, but then I'm not a big fan of free-form jazz as film score. I'm sure the performance by Ornette Coleman was swell, just that I hated the music!
The early Ornette Coleman quartet with Don Cherry - for being labeled an "out" group - actually had some very tuneful melodies.
Off the top of my head, I like Coleman with Cherry in "Science Fiction," "Broken Shadows," and "The Shape of Jazz to Come." "Science Fiction" is probably my favourite of the three. And IMO, "The Shape of Jazz to Come" is one of his most famous compositions, creating quite an impact in the realm of avant-garde jazz. And man, how I love Haden on that album as well
I mentioned Ornette Coleman on the jazz thread over on the "other side", but ol' Howard Shore could use a non-LOTR bump here, too.
I've been listening to Ornette Coleman's The Shape of Jazz to Come for the past week and even though I've had the album for nearly twenty years, it still resonates and remains vibrant. Hard to believe this was so shocking to the Jazz world in 1959, but when you see what Jazz was like during that time, it was one-of-a-kind sound. Amazing what a plastic alto sax, a pocket trumpet and no piano can do. Coleman was largely, if not completely, self taught. He was fortunate to find like minds to get his music made. Every musician in his quartet contributes a great deal to the whole, with nothing "ornamental"--no pun intended--in this music. Endlessly fresh music. Coleman is severely under appreciated.
I love those opening strains from Naked Lunch. Ornette Coleman's sax is as instantly recognizable to me as Billie Holiday's voice, Miles Davis' trumpet, and Thelonious Monk's piano. To hear Coleman's sax towering over the orchestra is just marvelous.
The whole gestalt is (for me) hard to take -- film, score etc. There are some fascinating moments in the film, to be sure, but I really don't think Burroughs is a writer whose work lends itself well to film. The performances are fine, and Peter Weller is probably as well-suited to play a Burroughs character (himself) as anyone. The visuals are bizarre and not for the squeamish. I found the music obtrusive, irritating and non-contributory, but then I'm not a big fan of free-form jazz as film score. I'm sure the performance by Ornette Coleman was swell, just that I hated the music!
I love it when you get all traditional and reactionary. lol
Naked Lunch and The Score are some of the modern jazz scores that are good. JNH GGR also fits the bill. [Edit]Marsalis numero deux plays on Goldsmith's Russia House, which is also good. I prefer McNabb on Goldsmith's LAC tbh.
I've often wondered about wide-open jazz improvisation in film, and its usefulness. Maybe later I'll write something more on this topic.
As the movie as bad as people say? I hear this from both Cronenberg and Burroughs fans.
I "like" the film for what it is, rather than for what it isn't. Deep, huh? Cronenberg doesn't really attempt to take on the novel but rather the biographical material found in the Burroughs novels Junky and short-story collection Interzone, so in that respect I find Naked Lunch to be best viewed in that context. I'm not really a Burroughs fan but find his world view interesting, even if it's utterly repulsive much of the time. Still, I find it to be a twisted, surrealistic Noir that is its own universe (or whatever).
I "like" the film for what it is, rather than for what it isn't. Deep, huh? Cronenberg doesn't really attempt to take on the novel but rather the biographical material found in the Burroughs novels Junky and short-story collection Interzone, so in that respect I find Naked Lunch to be best viewed in that context. I'm not really a Burroughs fan but find his world view interesting, even if it's utterly repulsive much of the time. Still, I find it to be a twisted, surrealistic Noir that is its own universe (or whatever).
Thanks. I've seen the film since I started this thread, and I generally agree with your assessment, although I do like Burroughs quite a bit.
Watched the film again and I have to say that Howard Shore and Ornette Coleman are tremendous on this. The music is in no way intrusive or ill fitting. In fact, the score is not only effective in conveying time, place, and atmosphere, but the emotional core of the film as well. There aren't many films that can claim the demise of a Clark Nova typewriter as one of its best emotional pieces ("Clark Nova Dies"). It's positively insane to write this, but then again Naked Lunch is that kind of film.
Watched the film again and I have to say that Howard Shore and Ornette Coleman are tremendous on this. The music is in no way intrusive or ill fitting. In fact, the score is not only effective in conveying time, place, and atmosphere, but the emotional core of the film as well. There aren't many films that can claim the demise of a Clark Nova typewriter as one of its best emotional pieces ("Clark Nova Dies"). It's positively insane to write this, but then again Naked Lunch is that kind of film.
It's one of the few movies that I feel takes you on a 'trip'. I wonder what today's take on Burroughs would result in, but the mix of "plastic horror" creature effects provided by Cronenberg's own twisted imagination fit in so well with the material. I agree about the score being every bit as expressive and emotional as the movie and an equally powerful ride. The movie even had Brody before he died of fear! "Did I ever tell you about the man who taught his asshole to talk?"
P.S. the criterion blu-ray of Naked Lunch is a delight (and was reason enough for me to get a region free player).
It's one of the few movies that I feel takes you on a 'trip'. I wonder what today's take on Burroughs would result in, but the mix of "plastic horror" creature effects provided by Cronenberg's own twisted imagination fit in so well with the material. I agree about the score being every bit as expressive and emotional as the movie and an equally powerful ride. The movie even had Brody before he died of fear! "Did I ever tell you about the man who taught his asshole to talk?"
P.S. the criterion blu-ray of Naked Lunch is a delight (and was reason enough for me to get a region free player).
I have the regular old Criterion edition and the picture simply looks mahvelous on my eleven-year-old TV set.
In some ways those "plastic horror" effects are amusing, like a Disney Animatronic, but more successful for me are the buggy typewriters--the voice work by Peter Boretski was exceptional. He brought menace and a sick, twisted sense of humor. I think he, along with The Great Weller, kept everything from potentially spiraling out of control yet it all remained a black comedy. The entire cast was outstanding, though. Judy Davis, Ian Holm, Julian Sands, Robert A. Silverman, and especially Roy Scheider. He was fantastic in a role that I initially believed (at the time of the film's release) he wasn't suited for. Instead, he just kicked ass(hole) as Dr. Benway.
I also believe that the extended use of sets helped create a more vivid Interzone, because otherwise we'd just see that this was Tangier. I'm not a horror buff--I came to this movie as a Beats enthusiast which I had just discovered upon Naked Lunch's release but I've long admired Cronenberg's work on Scanners.
People complained about the film not making sense but if one has at least a basic understanding of Burroughs' life and work, they'd know that Cronenberg did his homework and delivered a classic cult film.
"The book [Naked Lunch], if you did it literally, would cost about 400 million dollars to do, and it would be banned in every country in the world."
~David Cronenberg
"Hello, Bill. What's up?"
Fom the Criterion Collection dvd release:
As for the film's remarkable promotional trailer, Cronenberg himself recalled that the trailer was one of the most surprising trailers he had ever seen by a major studio. Calling it, "Audacious and intelligent."
Less audacious but interesting nonetheless is the on-set featurette, also on the dvd.
Cronenberg doesn't really attempt to take on the novel but rather the biographical material found in the Burroughs novels Junky and short-story collection Interzone, so in that respect I find Naked Lunch to be best viewed in that context. I'm not really a Burroughs fan but find his world view interesting, even if it's utterly repulsive much of the time. Still, I find it to be a twisted, surrealistic Noir that is its own universe (or whatever). 
