Enough Already with ‘In the Hall of the Mountain King’

Posted on April 13, 2011 at 3:59 pm

Indiewire has a very funny piece about the popularity — the near-ubiquity — of Edvard Grieg’s “In the Hall of the Mountain King” in movies and trailers.  Before I go any further, let’s listen to it and see if it brings back any memories.

Wikipedia has an extensive list of “Mountain King” in film and television and trailers.

 

  • “In the Hall of the Mountain King” was famously used in the 1931 film “M,” in which Peter Lorre’s character whistles it. As of February 2008, it may be viewed and heard on YouTube.
  • In the ‘boat race’ scene of “The Social Network” (2010), a Trent Reznor remix is used when the Winklevoss brothers compete before discovering that Facebook reaches both Europe and video live streaming.
  • The song also was used in the opening promo for WWE’s Vengeance 2001
  • The song also appears during the teaser trailer of Tim Burton’s “Corpse Bride” and “How the Grinch Stole Christmas,” “Beetlejuice,” “Funny Games, Bride Wars,” “Rat Race,” “Friday After Next” and “Night at the Museum 2: Battle of the Smithsonian.”
  • The song is the theme music for Dr. Ivo Robotnik in the animated series, Adventures of Sonic the Hedgehog.
  • The semi-fictional characters Tristan Farnon and James Herriot in the BBC televised series “All Creatures Great and Small” perform the piece drunkenly with their dates at a pub.
  • It is also played over the end credits of the Woody Allen film “Scoop.”
  • A young boy is seen playing “In the Hall of The Mountain King” as a piano practice piece in an episode of Mad Men entitled “The Mountain King”.
  • In the final episode of Beavis and Butthead, “In the Hall of the Mountain King” is being played when Principal McVicker has flashbacks to their antics.
  • In the Courage the Cowardly Dog episode, entitled “Farmer-Hunter, Farmer Hunted”, the song can be heard several times.
  • “In the Hall of the Mountain King” is also featured in the intro of the television series “The Dudesons.”
  • The vampires in “The Lost Boys: The Tribe” whistle the tune to this song.
  • Lamberto Bava’s 1985 horror film “Dèmoni” (aka Demons) includes a title theme by Claudio Simonetti that incorporates the melody of “In the Hall of the Mountain King”.
  • Fragments of the piece are heard in the BBC Oscar-winning documentary “Man on Wire” in a re-enactment where Philippe Petit and an accomplice herd the infamous tightrope wire up the stairs, past a guard on duty. Though not played in full, the song is listed in the film’s musical credits.
  • It was used as the three brothers theme on the “Garfield and Friends” spin-off “Orson’s Farm.”
  • It is played when the antiestablishment Mozzie enters the FBI offices in USA Network’s “White Collar” (season 2, episode 4, 2010). song of the French author Bernard Werber’s short film “La Reine de Nacre.”
  • It served as a basis for the theme of the Inspector Gadget animated series.
  • A version of the song is used during a scene featuring a game of charades in a 2010 episode (“Chuck Versus the Leftovers”) of “Chuck.” Scenes immediately following this one then work cues of In the Hall of the Mountain King into the show’s original score.
  • It is used in the movie trailer of “Dinner for Schmucks.”
  • This song is the main theme of Microsoft’s commercial for its Windows Phone 7: Really.
  • It the sixth episode of 2nd season of “Misfits” (TV series) .
  • It was used in “The King of Kong: A Fistful of Quarters” during a graphing of Steve Wiebe’s world record attempt.
  • It was also played in the opening scenes of the Norwegian movie “Død Snø (Dead Snow).”
  • In “Mickey, Donald, Goofy: The Three Musketeers,” Pete’s song “Petey’s King of France” is sung to the tune of this song.

 

Two more over-used tunes:

(A lot of sports movies including “The Sandlot,” “The Mighty Ducks,” “The Replacements,” “The Longest Yard,” “Ice Princess” and many more)

(Also mentioned by Indiewire and used for a lot of battle scenes, series and comic, in everything from “Excalibur” and “Detroit Rock City,” to “Glee,” “Wrestlemania” and “Jackass”)

Any other candidates?

 

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The Corporate Villain in Movies — My First Appearance on Ebert Presents

Posted on April 11, 2011 at 12:41 pm

I was thrilled that my first appearance on Ebert Presents At the Movies was a discussion of corporate villains on screen from 1909 to the present — why they are so popular and how the portrayals have evolved to reflect changing times.  It was inspired by the piece I wrote for Bnet at the end of last year about the corporate villain in the movies of 2010.  Thanks to all who wrote to say they watched and especially those who said I inspired them to track down some of these films so they can see them.  Enjoy!

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Morgan Spurlock’s TED Talk on Product Placement in Movies

Posted on April 6, 2011 at 5:12 pm

I’ll be posting an interview with Morgan Spurlock (“Super Size Me”) about his new movie on product placement soon. Here’s the talk he gave at TED about making a movie about product placement that was entirely funded by product placement. This is why the official name of the film is “POM Wonderful Presents The Greatest Story Ever Sold.” And yes, onstage naming rights for this talk were sponsored too. Watch to find out from who and how much.

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Women in Media — And Media in Crisis

Women in Media — And Media in Crisis

Posted on April 6, 2011 at 8:00 am

As Katie Couric leaves her pioneering role as the first women anchor of a nightly network news broadcast, it appears that she arrived just as what was once the flagship of end-of-the-day journalism was shrinking to not much more than a rowboat, and a sinking one at that. Where once Walter Cronkite united audiences and was seen as the most trusted man in the country, most people under age 30 cannot even name the network anchors — they get their news from “The Daily Show.” Is it a coincidence that John Stewart’s show has been sharply criticized for its overwhelmingly male staff? Or that Couric now reportedly will leave news for a talk show?

Perhaps I am especially concerned with these issues because of my recent participation in the International Women’s Media Foundation conference at George Washington University. The event opened with a Kalb Report interview of Diane Sawyer, who spoke about the impact of budget cuts and new media on the nightly news broadcast.

Women from all over the world shared their stories about the way women were treated as reporters, editors, and managers and as sources and subjects of news stories as well. Domestic violence stories at one paper were characterized as “a family tragedy,” until women in the newsroom insisted that they be described like any other homicide: murder.  A paper in Norway made a commitment to have at least one photo of a woman on the front page every day — and not an actress.   A German newspaper requires that one-half of its staff be female and makes an effort at parity in sources and stories as well.

The IWMF released a major new report, the first comprehensive global study of women in media, covering not just the roles and ranks of women working in the media but the way stories are selected and covered.  Conducted over a two-year period, the report is based on data gathered by more than 150 researchers through interviews with executives at more than500 companies in 59 countries based on a 12-page questionnaire.  The report found:

In the Asia and Oceana region, women are barely 13 percent of those in senior management, but in some individual nations women exceed men at that level, e.g., in South Africa women are 79.5 percent of those in senior management. In Lithuania women dominate the reporting ranks of junior and senior professional levels (78.5 percent and 70.6 percent, respectively), and their representation is nearing parity in the middle and top management ranks.

The global study identified glass ceilings for women in 20 of 59 nations studied. Most commonly these invisible barriers were found in middle and senior management levels. Slightly more than half of the companies surveyed have an established company-wide policy on gender equity. These ranged from 16 percent of companies surveyed in Eastern Europe to 69 percent in Western Europe and Sub-Saharan Africa.

Only a little more than half of the news organizations have adopted a policy on gender discrimination.

Conference attendees used the report as a baseline to develop goals and strategies for improvement to take back to their publications.  Panel members from around the world talked about the importance of a public commitment to specific benchmarks — without imposing counterproductive quotas — that will cover not just reporters, columnists, editors, and managers but choices of sources and stories.

As with all debates on gender issues, there was a conflict between arguments that women are the same as men and arguments that they are different. A discussion on putting journalists in danger included the “genderized” treatment of the attack on Lara Logan.  Participants complained that Logan’s injuries led to sweeping statements that women should not be sent to cover the Middle East, while attacks on male journalists are seen on a case-by-case basis.

But there were also many discussions of the different perspective that women bring to sources and stories, the importance of making women’s points of view available to both male and female readers, and the impact of women as visible, credible role models for the next generation of journalists.

The limited data available from earlier studies show some progress for women in media, more as reporters than as managers.  This report, while incomplete due to the refusal by some news organizations to cooperate, especially on issues relating to compensation, provides the first meaningful baseline for measuring future progress.

But the measure of success is a moving target.  The conference presentations made it clear that the challenges of strengthening the presence of women in journalism are small in comparison to the transformational changes affecting the industry as a whole. U.S.-based print newspapers, which have relied in the past on advertising and classified ads for the majority of their revenue and are now losing readers to the web, are at a disadvantage over newspapers in other countries with less internet access (so far) and more subscription-based business models.

In a luncheon speech, Ambassador Melanne Verveer, President Obama’s appointee for Global Women’s Issues, spoke about the mobile phone as one of the most powerful factors in providing access to the crucial information that helps women achieve equality. The conference participants recognized that the greatest obstacle to keeping well-researched information available is not sexism but the Gresham’s law-impact of avalanches of free online content.

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Ten Questions about Sucker Punch from Brendon Connelly

Posted on April 2, 2011 at 1:13 pm

The always-brilliant Brendon Connelly of Bleeding Cool has ten fascinating and provocative questions for viewers of Sucker Punch. The movie has been widely derided as incoherent eye candy with only 20 percent positive reviews on Rotten Tomatoes. A typical comment was from Tom Meek of the Boston Phoenix: “The director of “300” and “Watchmen” has plenty of visual panache, but when it comes to storytelling, he’s a bombastic hack.”

Some of the questions Brendon asks us to ponder:

When do we first see Sweet Pea talk? And when do we last see her talk?
Whereabouts does the first scene in the movie take place? Whereabouts does the last scene in the movie take place?
Which locations, props and images reoccur, where and why?
Why are the girls dressed the way they are?

I’m going to go with the obvious answer on that last one. But Brendon is exceptionally astute on story-telling via editing and image. He has given us questions that are well worth considering to provide context of a movie that, even for people like me who found it disappointing, is clearly more ambitious than most of the reviews gave it credit for. To hear him debate the film with Kevin McCarthy, Josh Hylton, Travis Hopson and me, check out The Kevin and Josh Movie Show. I’ll update this post with a link when one becomes available.

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