VARIOUS ARTISTS – “PHANTOM OF THE PARADISE” soundtrack (1974)
I can’t stop recommending this early Brian De Palma rock musical masterpiece enough to anyone who’ll still listen. It’s one of those only-in-the-’70s kinds of films, cheapest one which is so indefinable (or difficult to explain) that the only category it can fit into is purely itself. Amazon.com editorial review Robert Horton sez:
Describing Brian De Palma’s “Phantom of the Paradise” as an update of the classic “Phantom of the Opera” doesn’t do justice to this demented movie. While De Palma’s Hitchcock homages have sometimes led him into dead ends, this rock & roll remake seems to have liberated De Palma’s imagination, and the result is weird and funny, with the scruffy underground spirit of the director’s early pictures.
The Phantom is one Winslow Leach (William Finley), a nerdy songwriter whose “pop cantata” on the subject of Faust is stolen by a freakish, Phil Spector-like rock impresario called Swan (Paul Williams). After getting his head caught in a vinyl-LP compressor, Leach is transformed into a masked creature, haunting Swan’s music palace, the Paradise.
De Palma proves how nimbly he can establish narrative rhythm: the story moves like a cannon shot, and the musical numbers (especially in the Alice Cooper-like Paradise sequences) are brilliantly cut. The movie seems to predict the Studio 54 scene, MTV, and punk rock–the last, especially, in the figure of Beef, a screeching singer played by the unhinged Gerrit Graham. The songs were written by Paul Williams, that diminutive ’70s music icon (he cowrote the Barbra Streisand wet noodle “Evergreen”), and his performance is a reminder of his peculiar, self-spoofing presence: at one point, the preening Swan announces, “You know how I abhor perfection in anyone but myself.” Comedy, musical, horror film, ’70s artifact–this movie isn’t quite definable, and that’s what’s wonderful about it.
If you’ve ever found yourself humming a tune from “The Muppet Movie” or “Bugsy Malone” (two other films that Paul Williams has scored as well), then you’ll know exactly what to expect from this soundtrack. It’s irreverent, bubbly, silly, sharp and altogether brilliant.