5 definitions by BohemianEarthMother
He Sold His Soul for Rock 'n' Roll
PHANTOM OF THE PARADISE...It has achieved cult status even among viewers who might not consider themselves Brian De Palma "fans," but who still appreciate its unique mixture of genres, flamboyant visual style, and biting social satire.
Aided by an insightful song score by star Paul Williams, the movie skewers the rock music industry (and by extension, other media as well) for its constant pursuit of "bigger and better highs," however destructive those highs may become.
De Palma's screenplay, openly inspired by PHANTOM OF THE OPERA, tells the tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
But Swan has no intention of giving him credit or involving him in the creative process. Winslow insists on his rights, and tries helping young singer Phoenix (Jessica Harper) to get a part in the production, but he's thrown out of Swan's office and home, then beaten up and framed for drug pushing. In prison, the humiliation continues when his teeth are removed as part of a "Dental Health Research Program" sponsored by the Swan Foundation.
Upon hearing that Swan's new rock palace, the Paradise, is about to open with a bastardized version of the cantata, Winslow escapes and breaks into Swan's "Death Records" plant, hoping to rescue his material. Instead, he's shot by a security guard, falls into a record press (which destroys both his face and voice), then disappears, presumed dead. Yet rising even from this catastrophe, he makes his way to the Paradise, steals a caped costume and mask from the wardrobe room, and becomes "The Phantom" -- using murder to protect both his cantata and Phoenix, whom he deeply loves.
When he's finally able to confront Swan face-to-face, the villain deceives him with an offer he can't refuse. If he'll stop terrorizing the Paradise, FAUST will be produced just as Winslow envisioned it, with Phoenix as the lead soprano. Oh ... and one more requirement: he must sign a contract in blood, the details of which Swan keeps suspiciously vague.
De Palma follows all this in a quick, serio-comic manner that differs sharply from his more suspense driven films of the period (SISTERS, OBSESSION, CARRIE). But that's just what PHANTOM needs, and the cunning use of visuals usually associated with old-fashioned melodrama (title cards, spinning newspaper headlines, wipes between scenes, etc.) lends a frenetic energy to much of the film. In contrast, there are several quieter, more haunting moments, including Phoenix's beautiful performance of "Old Souls" -- a song that bonds her to Winslow in a way she won't immediately understand.
The production of FAUST, for which Swan of course sticks to his own twisted design, is an elaborate "homage" to death, with all the trappings of mid-seventies glitter rock. Swan's replacement for Phoenix, the sexually "ambiguous" star Beef (Gerrit Graham), is brought forth as a monster whom the audience helps create by appearing to offer up their own body parts. This echoes De Palma's early documentary, DIONYSUS IN '69, in which a play's viewers interacted directly with the performers. But soon enough, PHANTOM carries the idea to a disturbing conclusion; the audience relishes the carnage on stage, even when it's real.
Other passages marking PHANTOM as the director's work include a brief split-screen tribute to the opening of Welles' TOUCH OF EVIL (if this sequence seems less complex than you might expect from De Palma, read this 1975 interview to find out why), and a scene of "double voyeurism" involving Swan, Phoenix and The Phantom. Also, those REALLY familiar with De Palma's work might want to compare the overhead shot of Swan resting in a giant replica of a gold record while he "surfs" through auditioning performers ... with a later image of Tony Montana (Al Pacino), just as jaded, sifting through cable stations as he lounges in a circular bubble bath. There's an essay in that somewhere!
Shot independently in New York, L.A. and Texas (the Paradise auditorium is a Dallas movie theater still used today as a performance hall) PHANTOM proved to be a difficult sell when first released, but swiftly gained a reputation at midnight screenings. In the late eighties, De Palma considered directing a stage version for Broadway, and in fact commissioned Williams to expand the show's score, but these plans apparently fell through. Yet the concept itself makes perfect sense, as the trends satirized by the film have only intensified over the years.
PHANTOM OF THE PARADISE...It has achieved cult status even among viewers who might not consider themselves Brian De Palma "fans," but who still appreciate its unique mixture of genres, flamboyant visual style, and biting social satire.
Aided by an insightful song score by star Paul Williams, the movie skewers the rock music industry (and by extension, other media as well) for its constant pursuit of "bigger and better highs," however destructive those highs may become.
De Palma's screenplay, openly inspired by PHANTOM OF THE OPERA, tells the tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
But Swan has no intention of giving him credit or involving him in the creative process. Winslow insists on his rights, and tries helping young singer Phoenix (Jessica Harper) to get a part in the production, but he's thrown out of Swan's office and home, then beaten up and framed for drug pushing. In prison, the humiliation continues when his teeth are removed as part of a "Dental Health Research Program" sponsored by the Swan Foundation.
Upon hearing that Swan's new rock palace, the Paradise, is about to open with a bastardized version of the cantata, Winslow escapes and breaks into Swan's "Death Records" plant, hoping to rescue his material. Instead, he's shot by a security guard, falls into a record press (which destroys both his face and voice), then disappears, presumed dead. Yet rising even from this catastrophe, he makes his way to the Paradise, steals a caped costume and mask from the wardrobe room, and becomes "The Phantom" -- using murder to protect both his cantata and Phoenix, whom he deeply loves.
When he's finally able to confront Swan face-to-face, the villain deceives him with an offer he can't refuse. If he'll stop terrorizing the Paradise, FAUST will be produced just as Winslow envisioned it, with Phoenix as the lead soprano. Oh ... and one more requirement: he must sign a contract in blood, the details of which Swan keeps suspiciously vague.
De Palma follows all this in a quick, serio-comic manner that differs sharply from his more suspense driven films of the period (SISTERS, OBSESSION, CARRIE). But that's just what PHANTOM needs, and the cunning use of visuals usually associated with old-fashioned melodrama (title cards, spinning newspaper headlines, wipes between scenes, etc.) lends a frenetic energy to much of the film. In contrast, there are several quieter, more haunting moments, including Phoenix's beautiful performance of "Old Souls" -- a song that bonds her to Winslow in a way she won't immediately understand.
The production of FAUST, for which Swan of course sticks to his own twisted design, is an elaborate "homage" to death, with all the trappings of mid-seventies glitter rock. Swan's replacement for Phoenix, the sexually "ambiguous" star Beef (Gerrit Graham), is brought forth as a monster whom the audience helps create by appearing to offer up their own body parts. This echoes De Palma's early documentary, DIONYSUS IN '69, in which a play's viewers interacted directly with the performers. But soon enough, PHANTOM carries the idea to a disturbing conclusion; the audience relishes the carnage on stage, even when it's real.
Other passages marking PHANTOM as the director's work include a brief split-screen tribute to the opening of Welles' TOUCH OF EVIL (if this sequence seems less complex than you might expect from De Palma, read this 1975 interview to find out why), and a scene of "double voyeurism" involving Swan, Phoenix and The Phantom. Also, those REALLY familiar with De Palma's work might want to compare the overhead shot of Swan resting in a giant replica of a gold record while he "surfs" through auditioning performers ... with a later image of Tony Montana (Al Pacino), just as jaded, sifting through cable stations as he lounges in a circular bubble bath. There's an essay in that somewhere!
Shot independently in New York, L.A. and Texas (the Paradise auditorium is a Dallas movie theater still used today as a performance hall) PHANTOM proved to be a difficult sell when first released, but swiftly gained a reputation at midnight screenings. In the late eighties, De Palma considered directing a stage version for Broadway, and in fact commissioned Williams to expand the show's score, but these plans apparently fell through. Yet the concept itself makes perfect sense, as the trends satirized by the film have only intensified over the years.
He's been maimed and framed, beaten, robbed and mutilated. But they still can't keep him from the woman he loves.
Beef: "The karma's so thick around here, you need an aqualung to breathe!"
Beef: "The karma's so thick around here, you need an aqualung to breathe!"
by BohemianEarthMother August 5, 2005
Bi-racial music artist, with a retro funk, reggae sound...son of deceased television actress "Roxie Roker" {Good Times} and producer/Exec. "Sy Kravitz".
Unable apparently to embrace his heritage, he went by the name of "Romeo Blue" early in his career...however he found no success in what appeared to be patterning himself in the image of music talent "Prince".
He went on to later marry "Lisa Bonet" {Liliquoi Moon/Cosby Show}, but after sowing a few too many oats...found himself divorced in 1991.
They have one child together...a daughter, "Zoe".
His music has a fairly distinct flavor for the times, with a unique mixture of Reggae, Funk, Rock and Blues...and his unique looks and style have also brought him notice.
To his credits are also several songs written for other artists, such as Madonna's "Justify My Love".
He has a mystique and sensuality about him that makes him desirable to women of various races...and to many, his flagrant non-conformist traits {such as tattoos and several piercings} are beyond the realm of mere sexiness.
Unable apparently to embrace his heritage, he went by the name of "Romeo Blue" early in his career...however he found no success in what appeared to be patterning himself in the image of music talent "Prince".
He went on to later marry "Lisa Bonet" {Liliquoi Moon/Cosby Show}, but after sowing a few too many oats...found himself divorced in 1991.
They have one child together...a daughter, "Zoe".
His music has a fairly distinct flavor for the times, with a unique mixture of Reggae, Funk, Rock and Blues...and his unique looks and style have also brought him notice.
To his credits are also several songs written for other artists, such as Madonna's "Justify My Love".
He has a mystique and sensuality about him that makes him desirable to women of various races...and to many, his flagrant non-conformist traits {such as tattoos and several piercings} are beyond the realm of mere sexiness.
by BohemianEarthMother August 5, 2005
1980-A group of four teenage girls in the San Fernando Valley {An urbanized valley in southern California, lying mostly within the city limits of Los Angeles}, and the usual problems teenagers have to cope with. Deidre is fascinated by her sexuality, likes boys and has lots of boy troubles. Madge is unhappily overweight and mad that she's a virgin. Plus, her parents are overprotective and she has an annoying younger sister. Annie is a teen runaway who drinks and pops pills, and runs away from her abusive father. Jeanie has to take care of them and is fighting with her divorced mother. They think that the school is rubbish, their boyfriends are immature and the grown-ups have come from another planet and are more in need of "growing up" than they are.
The movie was striking for me, because it seemed to mirror the teen years that I was leading in California...the characters were versions of your own friends, and their tragedies hit home too.
For all those who watched friends go nowhere in life, die young or make a success of themselves...this movie is nostalgic.
Stars Jodie Foster, Sally Kellerman, Scott Baio and an extremely touching and wrenching performance by Cherie Currie (The Runaways).
The movie was striking for me, because it seemed to mirror the teen years that I was leading in California...the characters were versions of your own friends, and their tragedies hit home too.
For all those who watched friends go nowhere in life, die young or make a success of themselves...this movie is nostalgic.
Stars Jodie Foster, Sally Kellerman, Scott Baio and an extremely touching and wrenching performance by Cherie Currie (The Runaways).
"She wanted to be buried under a pear tree and have the roots grow right through her, so all her friends could come once a year and eat a pear and say, "Mmm, She sure is tasting good this year."
by BohemianEarthMother August 5, 2005
One of the lead players in Brian De Palma's, 1974 cult classic..."The Phantom Of The Paradise".
The role was played by musical genius Paul Williams...who has recieved little recognition for his hauntingly beautiful lyrics and melodies produced.
It is a rock opera based on the classical piece "Phantom Of The Opera", with satire and creative social prodding throughout...it did not recieve the acclaim that was due, but has a strong cult following now.
The tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
He is deceived by Swan, framed and eventually finds himself maimed and psychotic...with his only connection to sanity being the vocalist "Phoenix (Jessica Harper) whom he has fallen in love with.
Swan was the epitome of evil in it's most pathetic and frail form...he is forever engraved in cult film history.
The role was played by musical genius Paul Williams...who has recieved little recognition for his hauntingly beautiful lyrics and melodies produced.
It is a rock opera based on the classical piece "Phantom Of The Opera", with satire and creative social prodding throughout...it did not recieve the acclaim that was due, but has a strong cult following now.
The tragic story of a talented but naive composer, Winslow Leach (William Finley). Believing that music impresario Swan (Williams) wants to work with him to produce his masterwork, a "rock cantata" based on the legend of Faust, Winslow hands over several songs to Swan's talent scout, Philbin (George Memmoli).
He is deceived by Swan, framed and eventually finds himself maimed and psychotic...with his only connection to sanity being the vocalist "Phoenix (Jessica Harper) whom he has fallen in love with.
Swan was the epitome of evil in it's most pathetic and frail form...he is forever engraved in cult film history.
Swan: "Ink isn't worth anything to me, Winslow." {Drops of blood drip as he punctures Winslow, to sign away his soul.}
by BohemianEarthMother August 5, 2005
Sensuality personified with a mysterious demeanor that makes her magnetic.
So many would condemn her and yet not have walked a day in her shoes...do any of us feel so above it all to do that???
Beauty being in the eye of the beholder...I behold a uniqueness, a complexity that is enigmatic and utterly captivating.
Someone with whom I'd find interest in her deeper thought processes and yet enjoy just hanging out with...just to see what she might do or say next???
...and her best quality, for all of those who are so very judgmental.
She doesn't give a damn what you think...and that is truly a beautiful thing.
You go girl...and congrats to you, Zahara is beautiful!!!
So many would condemn her and yet not have walked a day in her shoes...do any of us feel so above it all to do that???
Beauty being in the eye of the beholder...I behold a uniqueness, a complexity that is enigmatic and utterly captivating.
Someone with whom I'd find interest in her deeper thought processes and yet enjoy just hanging out with...just to see what she might do or say next???
...and her best quality, for all of those who are so very judgmental.
She doesn't give a damn what you think...and that is truly a beautiful thing.
You go girl...and congrats to you, Zahara is beautiful!!!
Sara: Some humanitarian who helps the masses but tears so many loving homes apart.....evil in disguise.
Me: Quit being such a f!@#ing drama queen and get over yourself...Angelina Jolie doesn't give a damn what you think and neither does most of the free world.
Me: Quit being such a f!@#ing drama queen and get over yourself...Angelina Jolie doesn't give a damn what you think and neither does most of the free world.
by BohemianEarthMother August 4, 2005