Baby Driver
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Ever since James Cagney met
his death to the strains of ‘I’m
Forever Blowing Bubbles’ in
1931’s The Public Enemy,
popular music and the crime
film have gone together like
ham and cheese. Filmmakers
like Martin Scorsese, Quen-
NJ STAGE 2017 - Vol. 4 No. 6
by Eric Hillis
tin Tarantino, and Guy Ritchie
have used the crime genre as a
means of showing off their re-
cord collections, and it’s difficult
to imagine their movies with tra-
ditional orchestral scores rather
than soul, funk and rock cuts
from the ‘60s and ‘70s.
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