Various Artists - Nick & Norah's Infinite Playlist (Album)
Cinematically, Australians are yet to be blessed with the latest teen-schlock offering, Nick & Norah’s Infinite Playlist, but the way I see it, the whole story is laid out perfectly just from the soundtrack.
Arranged by quirky film-scorer, Mark Mothersbaugh (yes, it was his idea to have some guy singing Bowie’s Life on Mars in Portugese in The Life Aquatic with Steve Zissou) the music, although not as infinite as the name might suggest, tells enough of a story to save me the trouble of actually seeing the film.
So, if you’re up for a potential plot-spoiler assumedly revolving around the melodramas of gangly, awkward teens (who, actually, all resemble 20 year-old models), then read no further. For I am going to reveal my interpretation of the plot via the fifteen tracks that represent the film – you have been warned, although obviously, I could be wrong…
And this is not, by any means, a piss-take, it has some wicked kewl totally awsm stuff on it, I can just smell self-indulgence a mile away.
Speed of Sound by Chris Bell is the opener, possibly setting the scene, but by the sounds of it (and its lack of speed thereof) it sounds like a Hawaiian funeral is taking place. While this could be the potential beginning for Nick & Norah, it would also serve as an apt backdrop for a lot of solemn rainy window gazing by said teen protagonists.
This is a pointed move to show us that seventeen year old boys are, contrary to the science of hormones, sensitive navel-gazers just looking for the right nymphet to settle down with.
Next up, the party track, provided by Devendra Banhart of all people, with his upbeat little ditty, Lover, perhaps the casual set-up of the two potential lovers (who have to over articulate everything and get nowhere) at a cool grungy coffee shop or else a parents-out-of-town keg party.
Some more summer fun times ahead, this time with nostalgic school days band, Bishop Allen and their track, Middle Management. This is where the uptight of the coupling finally learns to let go because of the crazy, positive influence the other wild-child is having on them.
The scenes probably evolve into some romantic playground antics, as provided by well loved indie-hipsters like Vampire Weekend, We are Scientists and Shout Out Louds and other lesser known, but still adorably amicable on the ear, such as The Submarines and Band of Horses.
Generally, these tracks demonstrate the happy days 'kids in America' point in the movie before that inevitable point of dramatic climax – you know: that emotional point between the two young lovers as its been revealed: h/she was only going out with them as a bet/dare/challenge; h/she has a shameful past and is too caught up in their own lies to realise that it never mattered to begin with; and/or a compromising position one is caught in (although it really isn’t what it looks like…).
In any case, How to Say Goodbye and Last Words by Paul Tiernan and The Real Tuesday Weld (???) respectively imply a lot of pensive window gazing and perhaps a revisit to “favourite places the couple visited and/or carved their initials into a tree".
It is all brought to a head with the synthed up instrumental ballad by Mothersbaugh, named (aptly enough) Nick & Norah’s Theme. The theme resonates the film itself; slow, thoughtful and introspective…and hey, if you don’t find that hard to stomach then rock out… and it’s not like Smash Mouth crap that usually gets played in teen flicks…I imagine this soundtrack will do what Juno managed to achieve for Kimya Dawson and the Moldy Peaches.
Personally, I may stick to my well worn copy of The Life Aquatic soundtrack if I need a Mothersbaugh fix.
As an added suggestion for all those teen-cult cinema directors out there, get Trent Reznor onboard to add his own film score je nai se quoi – the kids’ll love it!
