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Dewey Cox, that is. When I heard that John C. Reilly was starring in a fake documentary about a Johnny Cash style musical legend, I was immediately interested. Prior to Chicago I never knew who he was, aside from being "that guy" in several other movies. When I saw Chicago, amidst all of the huge showstopping numbers that flood that musical, to me the standout scene was the low-key melancholy of Cellophane Man performed perfectly by John C. Reilly. To have him headlining a music-centric movie is just pure gold.
Then a few weeks ago I listened to some of the music, and was immediately sold. This is a movie where, much like Shaun of the Dead or Hot Fuzz, the creators aren't just taking potshots at a genre but are instead having some fun with a genre they actually love and respect. The soundtrack came out this week, and I picked it up from iTunes (where, it is worth noting, the album comes with 15 extra tracks not on the CD sold in stores). I have been playing it to death ever since. Walk Hard is a great song on its own merits. Let's Duet is absolutely priceless ("In my dreams you're blowin' me... some kisses..."). But it is when he starts going through his protest music phase that the music just becomes deliciously wrong, in a very sincere and well-meaning way. He sings in support of midgets ("We're all of us midgets, and some are just small..."), he sings in support of the mulatto ("...one half voodoo, one half Wisconsin..."), he even sings in support of Women's Liberation ("...you're nearly as good as any man, hooray!"). It's just so very wrong in a beautiful way. Then he goes into his Bob Dylan phase, which is even more priceless. By the time he discovers disco and gets his own tv talk show, singing an absolutely perfect cover of Billy, Don't Be a Hero and teases his upcoming guests (Sly and the Family Stone), it is almost too wonderful to bear.
I'm telling ya folks, you need to see this movie when it comes out. I know I'll be there with bells on. I might even have a hole in my pants.
Then a few weeks ago I listened to some of the music, and was immediately sold. This is a movie where, much like Shaun of the Dead or Hot Fuzz, the creators aren't just taking potshots at a genre but are instead having some fun with a genre they actually love and respect. The soundtrack came out this week, and I picked it up from iTunes (where, it is worth noting, the album comes with 15 extra tracks not on the CD sold in stores). I have been playing it to death ever since. Walk Hard is a great song on its own merits. Let's Duet is absolutely priceless ("In my dreams you're blowin' me... some kisses..."). But it is when he starts going through his protest music phase that the music just becomes deliciously wrong, in a very sincere and well-meaning way. He sings in support of midgets ("We're all of us midgets, and some are just small..."), he sings in support of the mulatto ("...one half voodoo, one half Wisconsin..."), he even sings in support of Women's Liberation ("...you're nearly as good as any man, hooray!"). It's just so very wrong in a beautiful way. Then he goes into his Bob Dylan phase, which is even more priceless. By the time he discovers disco and gets his own tv talk show, singing an absolutely perfect cover of Billy, Don't Be a Hero and teases his upcoming guests (Sly and the Family Stone), it is almost too wonderful to bear.
I'm telling ya folks, you need to see this movie when it comes out. I know I'll be there with bells on. I might even have a hole in my pants.