![]() ![]() U2 minus The Edge plus lights that are almost as trippy as the lyrics = this number. “I Am The Walrus” (Bono, Secret Machines) OK, maybe not, but it does combine the main players’ vocals in a flattering way and end during a protest highlighted by Salvador Dali-esque masks and puppets. “Where’d she come from?” “She came in through the bathroom window.” Though this pun and not-so-subtle reference to an Abbey Road song are only noted in Prudence’s introduction, it’s might be more noteworthy than the actual number. Joes and the drafted men carrying the Statue of Liberty, this number is essentially a fascinating ballet routine, to say nothing of the song itself. From a trippy Uncle Sam reaching for Max from his “I Want You” poster to the creepy-beyond-belief army of G.I. Though it’s understated insofar as production value is concerned, this rendition is a fitting tribute to the original.Įasily, this number is among if not the most visually stunning in the film. The key changes also work well for the rock anthem.įuchs channels Slick and Joplin once again in this number, not least because of her massive curls. Though Cocker’s cameo is…awkwardly placed, his husky voice, accented by the neon city lights and the musical equivalent of a flash mob (which is, well, very musical), offers an interesting opportunity for the choreography. ![]() “Come Together” (Joe Cocker, Martin Luther McCoy) Punctuating it with the demise of an innocent boy hits home even more than that of Lucy’s boyfriend, who was KIA. The film undergoes a sharp tonal change with this gospel version of the classic song, and it’s almost hard to imagine that it was ever intended for anything else. ![]()
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