kerrin's blog

Say Anything is a 1989 film written and directed by Cameron Crowe. It stars John Cusack as the main character Lloyd, Ione Skye as his love interest Diane, and John Mahoney as Diane’s father, the antagonist. The movie is centered on Lloyd, who is fresh out of high school and looking to win the heart of the valedictorian Diane. No one else really believes in their relationship, especially not Diane’s father, who wants her to accept the scholarship she received to go study in England. Eventually, Lloyd and Diane’s relationship progresses, much to the disdain of John, and they begin to fall for each other. However, for John, persistence pays off, and he is able to create a rift between Diane and Lloyd, making them break up. Heartbroken, Lloyd tries to win Diane back in one of the most romantic scenes I have ever seen.

The scene is simple, totaling maybe thirty seconds in length. It begins with the camera panned on Diane, who is lying in her bed trying to sleep. Suddenly, Peter Gabriel’s In Your Eyes starts to play. Diane, confused, sits up and looks toward the open window. The shot then switches to outside, showing Lloyd standing beside his car, holding a boom box above his head. The boom box is blasting In Your Eyes, a song that held some sort of significance during the beginnings of their relationship. The view shifts back to Diane, lying on her bed looking forlorn, then back again to Lloyd, standing still, strong, and looking determined. Viewers can tell that he is not going to give up on Diane so easily.

The simplicity of this scene is what makes it so effective. There is nothing to distract you from the emotion conveyed without a single line of dialogue being spoken. Because it was featured earlier in the movie, one knows that In Your Eyes plays a significant role in the dynamics of Lloyd and Diane’s relationship. It holds meaning, and both the characters as well as the audience understand that. Lloyd’s action is far from subtle, yet it is not too aggressive either. Crowe, who also directed movies such as Fast Times at Ridgemont High, managed to write a scene that was silently articulate, with only a song playing to accompany the actors.

I have seen many movies, especially eighties movies, and no scene has ever captured my attention the way Say Anything’s boom box scene did. If I ever have to think of my favorite scene from anything, whether it be a movie or television show, this is the one that always pops into my head immediately. It is undeniably romantic and is the kind of image that enhances a girl’s dream of “Prince Charming.” I could watch this part of the movie over and over again and never fail to be captured by the weight of it. I love the movie as a whole, and this scene only enhances my affections.

August Rush is a movie about an orphaned boy who believes his parents are alive and are communicating with him through the music he hears at all times. The 2007 film features many different songs and pieces, some of which are covers and others that are original works. For example, Van Morrison’s song “Moondance” is played, as is an original song, “Bari Improv,” written by the film’s composer Mark Mancina. Mancina wrote the final theme, “August’s Rhapsody,” first, so that he could take bits and pieces from that and relate it to things that come beforehand. Each score throughout the movie is like a puzzle piece that fits into the final theme. My favorite piece of the puzzle is an instrumental track entitled “Dueling Guitars.”

“Dueling Guitars” was written by musician/composter Heitor Pereira and performed by him and Doug Smith for August Rush. The song lasts for about two and a half minutes and consists only of two acoustic guitars creating an upbeat sound. The song starts off slowly, with one guitar playing a few chords that the second then imitates. After approximately a minute of switching back and forth, the two play together. The track speeds up, reaching a climactic point after the two minute mark, and slowing back down to come to an end. The distinction between the two guitars is less definitive when they are playing together than it is in the beginning and the end, but it is obvious that two instruments are being played, not just one.

Mancina and Pereira obviously wanted the focus of “Dueling Guitars” to be only on the guitars, so they therefore did not incorporate any other instruments. However, the two instruments in the score are able to keep the rhythm and beat without the need of a bass or drums. The collaboration between the guitars keeps the track flowing all the way to the end. There is no need for the incorporation of any other instrument when the existing components are able to hold the listener’s attention and attraction without fail. It’s like a solo within a typical piece of music, except it makes up the entire composition.

August Rush became one of my favorite movies as soon as I finished watching it for the first time. The base of music that the story line revolves around captured my interest right of the bat. While watching the movie or listening to the soundtrack, “Dueling Guitars” is always the piece that stands out to me the most. I like the simplicity of the two guitars, yet the intricate way the music they create sounds. This movie and “Dueling Guitars” in particular inspire me to want to learn how to play the guitar, or at least to find other tracks similar to this one. It enforces a love of music and creativity within me, and I can listen to it on repeat for hours without becoming bored with it.