A Confession
Before I get to the main event I’ve got to confess my latest addiction; Hee Haw. I love that show.
I can’t explain it, but I find that show really entertaining. It’s kind of like that Spanish language prank show Que Locura (which I also love) in that it provides me a glimpse at what a demographic that I don’t usually encounter finds funny.
But Hee Haw is damn ass funny. Anyone who doesn’t dig when they’re a pickin’ an’ a grinnin’ shouldn’t consider themselves American. It’s like Comic View, except that on Hee Haw the vulgar stereotypes are played for laughs.
The real treat is of course the music. Where else can you find a glimpse of Garth Brooks before he completely blew up and crossed over? And seriously; the Statler Brothers are my s#it!
What can I say, I’m a sucker for tight harmonies.
But yeah, if I’m not watching Gummo late night on IFC, I’m checking out to see if Hee Haw is on CMT.
The Main Event
I happened to finally catch Dancer in the Dark this past weekend. I’d been meaning to watch the flick for year, about six of them. I mean I copped Selmasongs when it dropped and it was in heavy rotation. But somehow the films it was soundtracking managed to stay just beyond my range of vision for over half a decade.
But finally that’s over now. I’ve seen it and I enjoyed it. I thought that it was a very well put together film with plenty of strong performances. I’d certainly recommend that people check it out, but given that it’s six years old, if they were going to they probably have.
Still it was an act of complete kismet but the very next day I happened to see my favorite Bruce Springsteen video of all time; Dancing in the Dark.
Naturally I felt that it was my duty to compare these similarly titled musical viewing experiences.
The Lead Performance
In Dancer Bjork plays Selma an immigrant to the United States, who happens to be a mother and have a congenital degenerative eye disease. I thought that she did a pretty good job. I mean she was supposed to be Czech, but since I’m an American pretty much all foreigners sound alike to me. I believed that she cared about her son and that she was struggling with blindness. I’m not going to say that her performance blew me away, but I bought it.
On the other hand in Dancing, The Boss only sells me on the notion that he bowed to label pressure and tried to be “hip.” His smiles are so forced that you can practically envision the record execs hold guns to the heads of his loved ones. Granted his performance isn’t nearly as bad (or as career threatening) as what Hall & Oats did in the 80’s, it’s quite the departure from his “common man/working class” ethos.
Advantage – Dancer. Bjork had much more to work with and her performance didn’t tarnish her rep for an entire generation of viewers.
The Love Interest
Peter Stormare’s “Jeff” is the guy who longs for Selma in Dancer, though it’s more of an unrequited type of love.
In Dancing Courtney Cox is the young lass who Bruce pulls on stage and proceeds to convince her humiliate herself in front of the entire audience (while continuing to humiliate himself.)
Advantage – Dancer Stormare’s body of work is vastly superior to Cox’s, and “lovable loser” is preferable to plain “loser.”
The Supporting Roles
Dancer has some pretty big names supporting Bjork; David Morse, Catherine Deneuve. And every performance in the flick is worthwhile. Even Joel Grey and Zeljko Ivanek light up the screen in their all too brief courtroom appearance.
The E Street Band do a great job of backing up The Boss. Whether it’s literally, like Max Weinberg who drums like a automaton behind Springsteen, or figuratively like Steven Van Zandt, a notorious ham (rivaled only by G.E. Smith) who actually keeps a low profile in the clip. And really, aren’t Clarence Clemons claps crucial?
Advantage – Dancing. Those guys played the back and let Bruce keep the spotlight. They’re the definition of team players. There really isn’t an “I” in “E Street Band.”
The Actual Dancing
Bjork’s “Selma” dances up a storm in daydream sequences that vary in setting from a courtroom to train tracks. She’s pretty limber and moves very well. The numbers are tightly choreographed yet fluid.
It’s tough to call what Bruce Springsteen does “dancing.” The guy is so stiff he might as well be lip-syncing; “oil can. oil can.” And it doesn’t make it look any more natural that his shirt is tucked in. It’s like you want to say “Dude, you’re performing in front of a packed out, get comfortable.”
Advantage – Oddly enough Dancing. Bruce’s stiff moves have lived on and many consider them to be a primitive version of “The Carlton” proving their lasting impact.
The Verdict – It’s a tie. Wow. I considered adding an additional category, y’know as a tiebreaker. But I just thought that these two were equally deserving of being adored by me. They both fought good clean fights and they both deserve the honor of being, um, honored?
Donuts
Tom D continues covering classics.
Shawn details how important image is as far as music is concerned.
KDP considers Outkast “pop.” That’s very interesting and something to consider. I’ll have to ponder that.
Gloomchen also covers pop.
The Shining
Ian has news about Beck’s upcoming album, Interpol selling out and he tries to get the word out about some movie called Snakes on a Plane.
Phil laments the demise of funk, attacks Justin and prompts you to pick up Method Man’s upcoming album.
Five Songs I’m Loving Right Now
1. Outkast – Morris Brown
2. J. Dilla – So Far to Go
3. Outkast – Hollywood Divorce
4. J. Dilla – Love Movin’
5. Outkast – The Mighty “O”
