Word: codas
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KUROSAWA SAID he was making an antiwar film with Seven Samurai as well; he tacked on a coda where the survivors bitterly realized that their fellow samurai had died for nothing. But we go back to that film for the kinetic charge of the battle scenes, for the lyrical action. Like Peckinpah in The Wild Bunch, Kurosawa inadvertently ended up affirming the violence he set out to condemn. Now, he has made a true anti-war film, with all the horror of battle and none of the thrill...
...likes to slum in Gilley's. The destinies of these people, all of whom are about as articulate as the mechanical beast, are finally worked out in a riding contest - a sit-out instead of a Shootout - between Bud and Wes and in an even more melodramatic coda. This provides added opportunities for heroics and also a neat enough resolution. It is, however, a most improbable ending...
...Henley and Glenn Frey, have been taking it on the chin for such presumed transgressions as coldness, stylistic calculation and lyrical arrogance. Some of this criticism is justified. The Eagles are a motivating commercial force in rock more than a creative one. The Sad Cafe tries to shape a coda for the '60s by shoring up all the cliches of a generation ("love," "freedom," "amazing grace," "lonely crowd") and firing them off like salvos. The song becomes unwieldy, but its graceful melody rescues it. Henley and Frey have better luck closer to home, in the jokey, hokey bacchanal...
Three tracks might fairly be called "experimental": "Theme," "Fodderstomf," and "Religion I and II." "Theme" grates along for over nine minutes, with Lydon repeatedly wailing in a disembodied voice "I wish I could die" over a ponderous bass line. At the coda, Lydon intones "terminal boredom," an apparent gloss to the song. "Fodderstomf" features a disco bass line and the refrain "We only wanted to be loved" chanted in a sort of Monty Python falsetto. In the background we hear Lydon variously maundering belching, and playing with a fire extinguisher, for almost eight minutes. One manifest fault of these tracks...
...girl, not knowing why he missed the train, goes on without him-to become Adolphe Menjou's lavishly kept woman in the capital. Later they meet, there is promise of love's renewal, but circumstances and her lover's priggishness intervene. Tragedy and then a coda at once ironic and uplifting end the picture...