The rock and roll di­rec­tor who changed the way we lis­tened to the movies…

The Irish Mail on Sunday - TV Week - - YOUR TV WEEK -

It must have been the fifth or sixth time I had seen Martin Scors­ese’s break­through movie Mean Streets, but it was still an eye- opener. From the open­ing scene – when Har­vey Kei­tel’s head hits the pil­low to the first drum­beats of The Ronettes’ Be My Baby – to Robert De Niro mak­ing a spec­tac­u­lar en­trance, sans trousers, to The Stones’ Jumpin’ Jack Flash, this is the sound­track that changed movie mu­sic for­ever. Scors­ese mixed the rock and pop of his ado­les­cence with the tra­di­tional Ital­ian mu­sic of his childhood to cre­ate a sweaty, claus­tro­pho­bic at­mos­phere that brought the viewer into the heart of New York’s Lit­tle Italy. Just how rev­o­lu­tion­ary the movie was in terms of Scors­ese’s use of mu­sic was ex­plained last week in the three-parter, The Mu­sic That Made The Movies ( Thurs­days, BBC, 9pm).

Pre­sen­ter Neil Brand spoke to some of the com­posers and di­rec­tors, in­clud­ing Scors­ese, who changed the tra­di­tional way mu­sic was used. With Scors­ese, you got the feel­ing that the im­ages and songs in Mean Streets were float­ing around his head for years be­fore he caught it on his cam­era. This week’s episode looked at Van­ge­lis’s haunt­ing score – shim­mery, soar­ing syn­the­sis­ers – in Ri­d­ley Scott’s Blade Run­ner. You couldn’t imag­ine a greater con­trast to Mean Streets’ ur­gent sound­track, though it’s no less ef­fec­tive.

It was the first episode of Celebrity Ap­pren­tice ( Mon­day, TV3, 9pm) this week, and it was all a bit con­fus­ing. You know it’s the Ap­pren­tice be­cause all the con­tes­tants speak into their phones as if they were des­per­ately try­ing get Scotty to beam them back up onto the Star­ship En­ter­prise af­ter a sur­prise at­tack by the Klin­gons. And was that re­ally yer man from Hardy Bucks play­ing en­tre­pre­neur? Yes, it him and he was the first to get the bul­let, so he’s ob­vi­ously not all that good at the en­trepreneur­ing thing. That said, he could have been for­given for think­ing that he might do a bet­ter job than Nick Lee­son, whose fi­nan­cial skills pre­vi­ously ended up sink­ing Bri­tain’s old­est bank and land­ing him in a cosy cell in a Sin­ga­pore jail. That’s TV. Most of the ter­res­trial chan­nels may have more or less given up on sin­gle plays, but it’s a dif­fer­ent story on Sky. Drama Mat­ters is a se­ries of five plays star­ring top ac­tresses and writ­ten by lead­ing fe­male screen­writ­ers, show­ing over the next few weeks. It be­gins on Tues­day with The Psy­chopath Next Door by Julie Rut­ter­ford (Trol­lied, Ashes To Ashes). Anna Friel (above) stars as the cool, glam­orous, but thor­oughly evil Eve Wright, a psy­chi­a­trist (or is she?) who moves into a new neigh­bour­hood and sets about de­stroy­ing the lives of a group of close friends. On Thurs­day comes a very dif­fer­ent kind of drama, Law­less, in which Su­ranne Jones plays a newly ap­pointed judge em­bark­ing on her first day in the post. It’s all quite im­pres­sive stuff.

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