Fragmented Frequencies June 16

the hot spot_001As a director Dennis Hopper had his flashes of genius, madness and self-indulgent foolishness. People always gush about Easy Rider or its follow up the near mystical cocaine damaged The Last Movie. And whilst I’ll tip my hat to 1988’s Colors, my favourite is the failed 1990 desert noir The Hot Spot. There’s a lot to like, Don Johnson as the smooth drifter looking for a second chance, who falls into bed with his car dealer boss’ wife Virginia Madsen, whilst simultaneously falling for Jennifer Connolly, the innocent ingénue. With bank heists, femme fatales and an amoral every-man searching for his soul, caught between his brain and his balls, it’s noir for the 90’s. And whilst the sun soaked ‘Last Tango in Texas’ failed to ignite the box office, Hopper did one thing right. He hired Jack Nitzchse to score. Nitzchse had worked with Neil Young, James Brown, The Rolling Stones, and everyone in between. His films included One Flew Over the Cuckoos Nest, Performance and Cruising. Yet for the Hot Spot Nitzchse did something special. He hired Miles Davis, John Lee Hooker, Taj Mahl, slide guitarist Roy Rogers and put them all in a room together. The results really defy categorization, lazy stripped back instrumental blues, with Hooker moaning periodically, Mahl strumming absently on his dobro and Rogers offering shimmering desert slide as Davis steps over the top and drops plaintive trumpet lines that sound like harmonica shimmering in the distance. It’s the soul of the movie, and it’s remarkable.

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