![]() ![]() And instead of hearing “The Weight” as a sprawling road anthem in Easy Rider, it becomes kitchen table music as characters busy themselves with breakfast. Still, it’s not quite a unified and eclectic wall of sound like American Graffiti, nor does it come to highlight the shared experience of the characters, like The Commitments harnessing of Wilson Picket’s R&B.įor that matter, “A Whiter Side of Pale” feels far more alive in the hands of Alan Parker. However, gradually the pervasive montages and the shameless use of music feel less and less discreet, never feigning any kind of purpose or meaning. It works even in the opening moments, first Three Dog Night, then Marvin Gaye, and later the casket leaving the church to the vocals of Mick Jagger in “You Can’t Always Get What You Want.” If you wanted to be cynical like Nick, you could suggest it’s all about getting a certain subset of the viewing public into the seats by banking on the nostalgia factor. Instead, it is the ubiquitous backbeat to the Baby Boom generation - a kind of audio comfort, even now. These iconic tunes do not create a greater appreciation for the world or complement the storytelling. It has no meaning in the moment, at least in a way that we can comprehend. However, there’s one immediately apparent issue. It’s true the music is the perfect ambient backdrop for the storyline. ![]() Likewise, The Big Chill is understandably lauded for its soundtrack. I wish there was more to be said about their relationships, but I don’t have much. Jeff Goldblum - who is one the most visible still, of all the ensemble - is probably the best source of comic relief. ![]() Sam (Tom Berenger), a celebrated Television actor, drudges up old feelings for the dissatisfied housewife Karen (JoBeth Williams). Sarah Cooper (Glen Close) is especially emotional when she thinks of their deceased friend. Nick Carlton (William Hurt) has become the hardened cynic in years gone by (Fortune cookies have followed suit). In scenes of mild interest and concern, they never amount to much aside from detached observation. We are outsiders never allowed in from the cold. Is it wrong to say we never truly get to know these people aside from a few pleasantries? Because even if they know each other so well, we are never able to break the ice in the same way. However, despite, the fairly high-profile cast, it merely dabbles in substantial conversations on life and the existential questions that hit us in mid-life crisis moments. Each car in the funeral procession is like a conveniently contained capsule of drama. There’s a troubling inciting incident to dictate the parameters of the story, providing reasons and space for characters to dialogue with their individual anxieties. The premise throws together a group of friends with a storied history already set in place. Without trying to sound too glib, this seems an apt diagnosis for the movie itself. He had so much promise and then seemingly wasted all his potential. They all converge at a funeral to mourn the loss of their college friend Alex, who took his own life and seemed to be on a road to nowhere. Moments later “I Heard it Through the Grapevine” plays over the credits as all our main characters are introduced wordlessly. It’s a touchstone for a generation: For my parents’ peers. In fact, you always hear rumblings about The Big Chill. When a little baby boy is singing “Jeremiah was a bullfrog” in the bathtub - Larry Kasdan’s son - it’s the perfect introduction to this film. ![]()
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