Music and film are two incredibly powerful and widely consumed art forms, so when the latter is artistically informed by the former and filmmakers understand how to execute this tantalizing marriage, cinema’s potential can seldom be more exciting. The following films exhibit such qualities, ranging from highly recognized classics from bygone eras of Hollywood to wildly different modern critiques of fame in the music industry that are masterful all the same.
Bob Fosse’s “All That Jazz”
Though undeniably flashy and set against the backdrop of musical theatre, Fosse’s self-critical magnum opus sees the dance and stage legend not only bearing his soul to the audience but tearing it apart with striking opulence and bleak cynicism. Roy Scheider plays a fictionalized version of Fosse, demonstrating an unforgettable gravitas that very few performers in history achieve as he attempts to balance editing a major Hollywood production and kicking off a highly anticipated Broadway show. Ironically, the filmmaker pulls off a head-spinning feat by depicting this burden and his downward spiral with zero varnish, instead marrying the adrenaline-pumping choreography and eye-popping visual design with such frenetic fervor and remarkable self-loathing that all the color and pomp is imbued with tragedy and madness. Unsurprisingly, the end result is far from light viewing, but “All That Jazz” emerged as one of the most defining portraits of artistry and the devastating toll it takes.
Milos Forman’s “Amadeus”
As monumental and majestic as any epic Hollywood biopic but more deeply felt and layered than most, “Amadeus” is an undisputed classic worthy of its heavenly stature. Forman conducts his cinematic symphony with precision and grace, never fluffing up its ambitious narrative and never omitting the smaller, magical details that ultimately complete a film like this. F. Murray Abraham and Tom Hulce collide as renowned composers Antonio Salieri and Wolfgang Amadeus Mozart, respectively. Both are forces to be reckoned with, as they dramatically rival each other amidst the staggering sets, costumes and music that formulate this iconic masterwork.
Jorma Taccone and Akiva Schaffer’s “Popstar: Never Stop Never Stopping”
It may not be as cinematically prestigious as the other films mentioned, but regardless, The Lonely Island’s riotous mockumentary deserves praise as it relentlessly and cleverly satirizes the 21st Century music industry. “Popstar: Never Stop Never Stopping” offers an array of memorable original songs and a murderers’ row of comedic and celebrity cameos while staying true to its entertaining convictions. It’s all spurred along by co-writer Andy Samberg, who is perfect as the douchey, airheaded Conner4Real, navigating the nonstop series of gags with wit and a beating heart that sneaks up in the final act. Above all, this is 87 swift minutes of extremely funny and still frustratingly topical skewering of fame and entitlement, making it one of the best comedies and music-centered films of its decade.
Todd Field’s “Tar”
Field ended his famous 15-year absence from the industry with “Tar,” a psychological odyssey that charts a famous composer’s fall from grace following accusations of misconduct. Its narrative is sprawling yet meticulous, its form minimalist yet intriguing, its themes dense yet richly rewarding. It feels redundant to describe Cate Blanchett as outstanding, yet the thespian somehow travels to new depths to bring to life one of the most fascinating and devastating portrayals of the personal corruption of power. She and Field, importantly, present the microscopic ways that her character tries to hold onto that power, with everything from the haunting soundscape, quietly rhythmic cutting, disconcerting production design and stark, multifaceted cinematography coming together like a darkly alluring orchestra heralding an unabashed cinematic triumph.
