When Sean Bailey, current president of production of Walt Disney Studios, approached the director Craig Gillespie to test him out with the goal of taking over the origins film project for Cruella de Vil that he was getting stuck, he had something very clear. I wanted the film to be endowed with a musical spirit.
That’s why Bailey went to the director of Yo, Tonya (2017), that film in the form of a collection of uninterrupted milestones that form the skeleton of the story of a protagonist with a not very exemplary behavior. “He told me about the songs of Yo, Tonya and how I wanted Cruella was drenched in music that way, “Gillespie explained in Den of Geek.
Before he got to Cruella the project had a few screenwriters behind it and it had just lost Alex Timbers as director. Considering their history directing Broadway musicals, it seems that Disney’s idea was clear and they only needed to find a filmmaker in their own right. musical frequency.
Of course, that was Craig Gillespie, accompanied by Susan Jacobs, the head music supervisor of David O. Russell (The Bright Side of Things, The Great American Scam) Y Jean-Marc Vallee (Alma salvaje, Big Little Lies; for which he won an Emmy Award). Jacobs, who is also behind the musical selection of another incontestable recent mix-tape like A promising young woman had worked with Gillespie on Yo, Tonya, so he knew exactly what he was going to find.
Ask for songs and they will be given to you
As Gillespie himself has recounted in interviews, his process consists of shooting with the songs already in mind –or playing through the mobile on the set–, even if later he does not get the rights for that specific song. “I come to the set with hundreds of songs on my mobile,” says the director. “One of those that no music supervisor doesn’t even want to approach because of the price they have: Rolling Stones, The Doors, Queen…”.
Only, in the case of Cruella, Gillespie y Jacobs they had the Disney checkbook. It has not been specified how much of the film’s $ 200 million budget has gone to pay for music licenses, but the more than 30 ultra-recognizable songs that sound in the film (and what you can hear on its official soundtrack) they are not exactly cheap. And that’s not counting the version of Call Me Cruella What do they do Florence + The Machine as the official theme of the film.
Most of the songs of Cruella they are directly Gillespie’s first choice, the one he thought was unattainable. What is the problem with that ease of access? That the musical flow of the film is a continuous succession of songs as recognizable and ultra-popular as they are obvious.
Instead of tracking down more unknown compositions with a similar effect, it has opted to plunge viewers into a sort of greatest hits radiophonic that sometimes they achieve their purpose by wrapping up the images and many others sound like easy and wasted choices.
We are going to review some examples of each of these categories, keeping in mind that they could easily be others; the soundtrack is so neat that it gives you many options.
5 successes of the soundtrack of ‘Cruella’
Understanding by right not necessarily that the song in question is more surprising, but that its appearance in the film is pleasant and appropriate without falling into laziness or embarrassment.
Five to One, The Doors. This is the case of this nothing unknown song by the Doors, which closed their album Waiting for the Sun, and that accompanies the entrance on the scene in slow motion of the Baroness of Emma Thompson with a force that makes you think that Jim Morrison going to get out of the car. If it looks so good it may be because this was one of those first options that Gillespie didn’t even dream of getting.
Watch the Dog that Bring the Bone, Sandy Gaye. Here is a good example of recovering an old song (taken from a funk and soul compilation from the late 60s) that also fits perfectly with the film (dog theme) and is perfect in the sequence in which it is Has Mounted: The Police Escape From Children’s Versions Of Estella, Jasper Y Horace through the streets of London. So yes!
She’s a Rainbow, The Rolling Stones. Again, we are not in the least before a daring decision, but it shows that Gillespie wanted to give this beauty a place of honor in the film by using her for the montage sequence that shows us the growth of Estella, the first appearance of Emma Stone and the development of their criminal activities with their friends. In addition, and not unimportant, the director allows the song to play for a while, a privilege that no other equally top songs will have (right, Bowie?).
Love Is Like a Violin, Ken Dodd. This problem is often repeated in the soundtrack of Cruella: when an interesting song appears, it is not given much primacy either. This is what happens with this melodious single from the versatile Ken Dodd, which plays as Estella prepares her latest textile strike against the Baroness and brings her a star piece for her truly poisoned collection. Your notes may get lost among others hitazos, but thanks for keeping it in mind.
Car Wash, Rose Royce. Admittedly, a little more soul seems like the perfect music for the kidnapping of three Dalmatians who are receiving a bubble bath. Good for Jasper and Horace, who in addition to carrying out the plan have the best rhythm to accompany their reckless actions.
5 truisms from the ‘Cruella’ soundtrack
They may not be bad songs at all, and some are truly magnificent works, but we are sick of hearing them ubiquitous in various pop culture products without a shred of spark to use. Couldn’t they really have been replaced by something less ultra-stolen?
Sympathy for the Devil, The Rolling Stones. In the beginning we were magnanimous with She’s a Rainbow, but ending the movie with this is too much. It arrives linked to The Wizard, from Black Sabbath, to emphasize in such a way the purpose of Cruella –To make us feel sympathy for a villain– that leaves us with the worst possible aftertaste. Stop using this song to accompany bad-but-charismatic people, please. Whoever wants to listen to it in the cinema has the movie that Godard it consecrated it whole.
One Way or Another, Blondie. You are probably wondering how many times you have heard this great song by Blondie in a funky montage like the fashionista confrontations between Cruella and the Baroness. The final figure surely exceeds the number of legs of 101 Dalmatians and, although the group of Debbie Harry it is so cool that it can withstand everything without showing wear and tear to encourage us to move our feet, we ask for a respite from so much overuse. Enough already!
These Boots Are Made for Walkin’, Nancy Sinatra. When Estella gets drunk to vandalize the window of the Liberty store where she works, one of the most recognizable songs in history begins to be heard in the background. To the point that the character himself begins to hum it diegetically. It is not surprising that he knows her: she has been sounding in series and movies of all kinds for more than 50 years. And the best is still The metal jacket.
Time of the Season, The Zombies. Two important requests related to this (great) song and the scene in which it sounds: the traveling sequence shot that introduces us to every corner of the Liberty store on Estella’s first day at work. First of all, it becomes necessary to stop using it as a temporary marker for the late sixties / early seventies. The second, and this especially affects a filmmaker so Scorsesian like Gillespie: stop repeating the sequence shot of One of ours, please, everyone has already seen the original.
Smile, Judy Garland. We are not going to deny that this assassination attempt with the flames of the fire growing to the sound of the voice of Judy Garland In ironic contrast to what happens, it could be funny on paper, Gillespie, and it is also a very beautiful cinephile reference, but there is a serious problem with this choice: not two years have passed since Joker he did the same with the same intention of ironic contrast of meanings. It’s certainly not the best model to look at at all.