Bears
"Bears" could have used a lot more science; more substantive information in the place of wacky one-liners. Still, the images trump everything.
George Martin
-
Yellow Submarine (1968)
—
Directed by
Roger Ebert -
A Hard Day's Night (1964)
—
Music by
Roger Ebert
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Thumbnails 2/5/2014
Post-Beatles Beatles movies; heroin and creativity; Terry Gilliam's life in 8 movies; Hannibal's food stylist.
Mad Men: Memories, doppelgängers & phantoms
"It's the greatest curse that's ever been inflicted on the human race, memory." -- Jed Leland (Joseph Cotten), "Citizen Kane" (1941)
Nearly every scene in "The Phantom," the Season 5 finale of "Mad Men," conjures a ghost from the show's past. "Mad Men," like many great series from "Hill Street Blues" to "SCTV" to "The Sopranos," has always been exceptionally good at this (see "The Long Walk"), setting images, gestures and emotions reverberating off one another across episodes and seasons. The series has a memory, and the curse of memory is a primary theme of "The Phantom," which is why the episode is composed as it is. As Nancy Sinatra sings in that final song:
You only live twice, or so it seems, One life for yourself and one for your dreams.
(Spoilers from here on out.)
That's a James Bond theme song, from "You Only Live Twice" (1967) -- and it's the second Bond theme we hear in the episode, after Herb Alpert & the Tijuana Brass bite into Burt Bacharach's theme from the James Bond parody "Casino Royale" (1967) at the weekday matinée where Don (the suave, masculine Bond of New York advertising) runs into Peggy. (The Beatles, who have figured prominently in Seasons 4 and 5, released "Help!" in 1965 and it was in part a 007 parody, too -- especially the John Barry-like orchestral music written by George Martin.) Echoes and repetitions are everywhere.
