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![]() ![]() The film was also propelled by its soundtrack airless and crystaline, swirling and emotional. ![]() Its described on Wikipedia as a ‘teenage sex comedy’ and aside from its titillation as to sex scenes it is a story of a suburban teen’s brush with prostitution (Cruise character Joel’s journey from suburban teen proto-yuppie to capitalist underbelly is done smoothly and also ends up working as a fairly ruthless critique). When I was a child of about 12 or 13, the BBC showed Risky Business late one night, which I watched and recorded on VHS. ![]() Tangerine Dream’s contribution helps transform (/elevate) this film, its affect, its emotional scope and resonance and I hope by the end of this piece to be closer to how this occurs and what might differ about these varied and dynamic songs and motifs in transforming the experience of story and the feeling of that experience. Of course this can be said for all the best productions in this area whether they are orchestral, acoustic or electronic, but I’ve had cause over time to trace this thought in relation to electronic music especially – which had a kind of exemplification for me at a young age through seeing 1983’s Risky Business (starring a pre-“Tom Cruise”-Tom Cruise) written and directed by the debuting Paul Brickman. I’ve touched before on the use of electronic music in film soundtrack, something which at its best generates a sense of possibility for feeling and experiencing that takes the mergent synthesis (moving images and sound) to a different kind of place. ![]()
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