I saw on a thread awhile back that someone was comparing the themes of the opening songs of both films, and how they are both alike. I thought that was a fascinating insight. Does anyone else agree? Do you think Prince took this into account when coming up with the opening track to GB?

if nothing else, you can always post which one you like better. Although, I'd truly love a conversation about the themes of both songs. (Sorry I have a degree in English and really get into themes of an artist's work.)

B wild!

[Edited 5/7/12 12:26pm]

I don't even remember what the opening song for Graffiti Bridge is. I only saw the movie once.

Romeoblu said:

I guess the opening song is I can't Stop This Feeling I Got. In which case I prefer I Can't Stop, been so long since I saw the film, it could be NPG, again I prefer that to Let's Go Crazy.

Sorry should have specified - I meant the opening in the actual film. So "New Power Generation"

I prefer NPG as a song, but imo Let's Go Crazy is better performanced.

[Edited 5/7/12 13:28pm]

NPG is best as the Funky Weapon Remix.

but Let's Go Crazy is a better song. And cinematic performance in the movie.

[Edited 5/7/12 15:35pm]

There is no competition, New Power generation is mediocre at best, the Funky weapon mix is okay, but then Lets go crazy is amazing and the extended mix with his piano bit and screaming in the middle is the shit.

Its also a lot better as the whole plot of Purple rain emerges as The Kid and the Revolution are performing the extended mix of it in the movie (The Kid, Apollonia and Morris).

New Power Generation a 5/10, Lets Go Crazy a 10.

Lets go crazy hands down

LGC

rdhull said:

rdhull said:

Vanilli said:

I saw on a thread awhile back that someone was comparing the themes of the opening songs of both films, and how they are both alike. I thought that was a fascinating insight. Does anyone else agree? Do you think Prince took this into account when coming up with the opening track to GB?

if nothing else, you can always post which one you like better. Although, I'd truly love a conversation about the themes of both songs. (Sorry I have a degree in English and really get into themes of an artist's work.)

B wild!

[Edited 5/7/12 12:26pm]

a fascinating insight??

wow

doesnt take much to fascinate you

Romeoblu said:

I guess the opening song is I can't Stop This Feeling I Got. In which case I prefer I Can't Stop, been so long since I saw the film, it could be NPG, again I prefer that to Let's Go Crazy.

I Can't Stop is the opening song for the movie. New Power Generation is the opening performance track.

NeonCraxx said:

rdhull said:

Battle? LGC vs NPG is like the Avengers vs Popeye

I don't know what you mean by this. Aren't those shows both good?

It means that The Avengers would beat the shit out of Popeye if the characters battled.

And in this case, LGC is The Avengers.

Ridiculous question. Prince himself wouldn't hesitate to answer LGC.

Adorecream said:

There is no competition, New Power generation is mediocre at best, the Funky weapon mix is okay, but then Lets go crazy is amazing and the extended mix with his piano bit and screaming in the middle is the shit.

Its also a lot better as the whole plot of Purple rain emerges as The Kid and the Revolution are performing the extended mix of it in the movie (The Kid, Apollonia and Morris).

New Power Generation a 5/10, Lets Go Crazy a 10.

Spot on Right

Romeoblu said:

I guess the opening song is I can't Stop This Feeling I Got. In which case I prefer I Can't Stop, been so long since I saw the film, it could be NPG, again I prefer that to Let's Go Crazy.

The opening song for the film is New Power Generation.

Can't Stop This Feeling Got was filmed, but the sequence (very West Side Story) was nixed.

Let's Go Crazy is better.

The screaming guitar ending alone makes the song much more rememerable than NPG.

NPG is funky in parts, but it sounds like George Clinton track updated for a 90s crowd. Let's Go Crazy is Elvis-meets-Hendrix all the way, and more fun---though I'm not crazy about either tune.

"Let's Go Crazy", although I'm sick of hearing it on boots (the one and only time I've seen Prince live he didn't play it though )

"New Power Generation" really hasn't dated well. It's corny. Obviously a lot of Prince songs are corny, but usually in a good way.

"New Power Generation" is a weak song.I can't see why he chose to open the film with that song....he would have been better off starting the movie with a rocking,kickass performance of "I Can't Stop This Feeling I Got".

rdhull said:

Battle? LGC vs NPG is like the Avengers vs Popeye

Now that would depend on how much spinach Popeye has around. If Popeye could get to enough spinach, he'd beat the crap out of all the Avengers and you know it!

Now as for LGC vs NPG, that would be more like the Avengers vs Olive Oyl.

Let OldFriends settle this 1

(1) Black Screen

SOUND under: MUSIC building in INTENSITY
as--

PRINCE
(over)
Dearly belov`ed,
We are gathered here today
To get through this thing
called life.
Electric word life,
It means forever and that's a
mighty long time.
But I'm here to tell you that
there's something else -- The
afterworld.



Then huge CU of EYES opening, gazing
into mirror, HAND applying makeup,
sudden BLACKNESS, then--

PRINCE
(con't)
That's right...a world of
never-ending happiness,
You can always see the sun --
Day or night.

BURN IN MAIN TITLE: PURPLE RAIN

PRINCE
(con't)
So when you call up that
shrink in Beverly Hills,
You know the one -- Doctor
Everything'll Be Alright--
Instead of asking him how much
of your mind is left,
Ask him how much of your time,
`Cause in this life,
Things are much harder than in
the afterworld,
In this life, You're on your
own.

Now, pulsating COLOR -- FLASHES of hot,
white LIGHT...



PRINCE
(con't)
And if de-elevator tries to
bring you down,
Go crazy, punch a higher
floor.

and the BEAT provocative now,
relentless, BUILDING with fierce intent
to--





(2) INT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The MECCA! The last stop for a band
before national fame.

The HUGE cavernous HALL is PACKED!
PEOPLE are DANCING like MAD! VIDEO
SCREENS with WILD GRAPHICS hang
suspended from the ceilings. Beautiful
WAITRESSES criss-cross the floor in a
frenzy.

PRINCE is CENTER-STAGE -- LIPS caressing
the mike, black, lustrous hair shining,
eyes dancing -- SINGING "Let's Get
Crazy" as the CROWD pulsates beneath the
LASER LIGHTS.

The MUSIC continues as we ...

CUT TO:


(3) EXT. STREETS #1 -- NIGHT

A TAXI pulls UP with a SCREECH. VANITY
slouches in the backseat. Black boots,
black skin-tight pants, and a mane of
thick, black hair presents a beautiful
and imposing figure. Her eyes are
large and dark -- her look open and
ripe. She knows what she's got, and
doesn't make any excuses for it -- but
the fact is she's scared as hell,
possessing a vulnerability that
surprises her by its suddenness. An
expensive gold chain is fastened on one
boot.

She scrounges through her bag -- pulls
out her remaining cash. It's drastically
short of what she owes and she knows it.
She tosses it onto the front seat,
JUMPS from the cab, streaks across the
street. The CABBIE lets out a YELL and
JUMPS out after her.

"Let's Get Crazy" continues as we ...

CUT TO:


(4) INT. SHOWER, MORRIS' APT. -- NIGHT

MORRIS DAY stands in the shower, steam
whirling about his face. He's 22 years
old, matinee-idol sexy with large, dark,
bedroom eyes. He headlines a slick
techno-funk group called THE TIME which
sports gangster suits and wide-brimmed
hats. He's gifted with a wealth of self-
laudatory humor which he uses like a
knife, moving through life with a calm,
but ruthless grace.

Make no mistake, Morris is nobody's
fool. His seeming out-raceousness, his
charm -- every move he makes is for a
calculated effect. He knows exactly
what the ladies need, and doesn't mind
reminding them should they forget ...



He breaks into a wide grin. Hair
standing up like Don King, he wipes off
a hand mirror, regards himself
unabashedly as he brushes his teeth.



"Let's Get Crazy" continues as we...

CUT TO:


(5) INT. BASEMENT, PRINCE'S HOME -- NIGHT



Prince sits in front of the mirror,
finishes applying his makeup. Black
hair flowing, eyes wide and fantastic,
he regards himself a moment before
jumging up. He puts on a high-collared
overcoat, grabs his guitar moves
quickly to the basement window. He
hoists himself through it, disappears
into the night.



"Let's Get Crazy" continues as we ...

CUT TO:


(6) EXT. CORNER, STREETS #1 -- NIGHT

A POLICE CAR, lights FLASHING, sits at
the curb. A small CROWD has rathered
about. The Cabbie stands on the
sidewalk gesticulating angrily to a COP.
Vanity stands by the police car,
obviously board, another COP by her
side. Her eyes are fastened on a good-
looking BUSINESSMAN standing nearby...

A silent negotiation seems to be going
on. Understanding wafts between them
like a passing breeze.

Without taking his eyes off her, the
Businessman approaches the Cabbie,
starts talking ...

"Let's Get Crazy" continues as we...

CUT TO:

(7) INT. MORRIS' BEDROOM -- NIGHT

Morris moves lasciviously into the
BEDROOM wearing a red muscle T-shirt,
orange baggy shorts, and green knee-hi
socks fastened to garters. A yellow
bandanna holds up his hair.

The bedroom is a MESS. A VACUUM CLEANER
stands like a sentry in the middle of
the floor. He turns it on, blazes a
path to his closet. He yanks out a well-
pressed suit, holds it against him,
strikes a sexy, half-lidded pose only a
mother could love--


MORRIS
(awed)
Oh, Lord ...

"Let's Get Crazy" continues as we ...

CUT TO:





(8) EXT. CLUB (1ST AVE. ST. BAR) -- NIGHT

The STREETS are swollen with TRAFFIC.
KIDS are packed onto the sidewalk,
waiting to get into the club. Prince,
riding his MOTORCYCLE, weaves between
jammed cars, then blasts down a narrow
alley leading to the rear entrance. His
guitar is slung across his back. He
chains up his bike, moves past a CROWD
of KIDS, cuts inside.

'Let's Get Crazy" continues as we ...

CUT TO:



(9) EXT. STREETS #2 -- NIGHT

A SEVILLE sweeps to a stop. The
Businessman is at the wheel. Vanity
steps from the car languidly and offers
a curt wave goodbye. The car pulls
away.

She stands serenely a moment as the CAR
twists around the corner. She grabs
her bag, rushes into a dark alley. She
pulls a handful of CASH from her pocket,
counts through it quickly.

'Let's Get Crazy" -continues as we ...

CUT TO:


(10) EXT. MORRIS' APARTMENT -- NIGHT

The DOOR opens -- Morris steps
confidently into the night. The change
in his appearance is breathtaking. A
cashmere coat is draped over his
shoulders, a white scarf hangs loosely
about his neck. Wearing a sharp,
gangster-style suit, his hair is a
pompadour, and Stacy Adams on his feet -
- Morris is the very picture of
elegance. He doesn't just walk to the
curb, he slides -- his promenade
punctuated with a dip at the knees you
could snap your fingers to.

JEROME is at the curb, buffing down the
bumper of a yellow, 1970 Fleetwood
Cadillac. Jerome is solidly built,
smooth-faced handsome with a boyish
charm all his own. He's a member of The
Time, and acts as Morris' chauffeur,
valet, and all-purpose shadow.

He moves quickly to the door, holds it
open as Morris settles himself into the
backseat. He closes it with a flair,
hops behind the wheel, pulls out.

'Let's Get Crazy" continues as we...



CUT TO:


(11) INT. DRESSING ROOM, CLUB -- NIGHT

Prince is BACKSTAGE, practicing spins in
front of the mirror. The other MEMBERS
of his CROUP are scattered throughout
the room. BOBBY sits off to the side,
his drumsticks tapping against his knee.
MATT puts on his doctor's smock. LISA
and WENDY finish applying their makeup.
MARK runs his fingers up and down the
neck of his bass guitar.

Suddenly a STAGEHAND pokes his head into
the room, holds the door open as Prince
and his band cut quickly to the stage.

'Let's Get Crazy' continues as we...

CUT TO:


(12) INT. MOTEL ROOM -- NIGHT

The DOOR opens -- A LIGHT goes on.
Vanity stands in the hallway, peers
cautiously into a squalid, rundown room.
She hesitates briefly, seems to sigh,
then indicates she will take it. The
MANAGER closes the door as he leaves.

She stands a moment, surveys the room.
A bed and bureau, sink, a chair,
hotplate -- simply the essentials. She
pulls a dress from her bag, a pair of hi-
heels, some gloves, underwear. She
hangs the dress on a rod, places the
shoes beneath it, arranges the rest in a
bureau drawer. She looks around once
more -- flowered wallpaper peels from
the walls.

She rushes to the window, tears open the
shutters -- iron bars obstruct her
view...


(13) EXT. CLUB -- NIGHT (VANITY'S POV)

... KIDS are crowded in front of the
CLUB. A YELLOW CADDY SCREECHES up in
front. TRAFFIC is jammed all around.
The night is electric -- the scene
beckons ...


(14) INT. VANITY'S HALLWAY -- NIGHT

She runs from the room, cuts down the
hallway, slanming the door behind her
...

"Let's Get Crazy" continues as we...

CUT TO:


(15) EXT. CLUB (1st AVE. ST. BAR) -- NIGHT

Jerome opens the door of the CADDY,
helps Morris out. The CROWD recognizes
them immediately, rushes in for a closer
look. Morris loves the attention,
plays to their enthusiasm with a relish.
Jerome snaps a comb into his hand, holds
up a pocket mirror ...

Morris combs his hair dramatically, the
Crowd encouraging him on. Jerome gives
him the OK sign, ushers him into the
club.

"Let's Get Crazy" continues as we...

CUT TO:


(16) INT. CLUB (1st AVE. ST. BAR) -- NIGHT

Prince onstage performing "Let's Get
Crazy." He's locked into a guitar
solo, moving provocatively with Wendy.
The CROWD is packed onto the DANCE
FLOOR, thick against the stage.



Jerome makes his way through the crowd,
blazing a path for Morris who is
surrounded by a dozen BABES.
Occasionally Morris glances at Prince --
discloses by his look that he doesn't
care much for his act -- or his music...

He breaks off from the Girls, follows
Jerome to the backstage entrance where
they're joined by other MEMBERS of The
Time -- JESSE and JELLYBEAN among them.
Morris casts another glance toward
Prince, breaks into a self-satisfied
grin--


MORRIS
We're going to slay him...
(screams)
Whawhak!

"Let's Get Crazy" continues as we...

CUT TO:


(17) EXT. CLUB -- NIGHT

COMMOTION! The CROWD has become
unwieldly -- TRAFFIC is snarled all
around. HORNS are BLARING. COPS try
desperately to ward off the inevitable
grid lock.

Vanity runs against the light, moves to
the head of the queue to the
accompaniment of JEERS and CATCALLS.
She doesn't budge an inch, KNOCKS
rapidly on the glass door, catching the
attention of CHICK, a burly, 6'5", 285
pound bouncer with a white beard and
long flowing hair. An ex-Marine,
Chick's function is obvious. He cracks
the door--


CHICK
What?

VANITY
I have an appointment with the
manager.

CHICK
No you don't -- he doesn't see
anybody.




Suddenly a FIGHT breaks out at the
INSIDE MONEY WINDOW. Chick spins
instantly, SLAMS the door -- but Vanity
jams her boot into the narrow space.
The door crashes against her instep, she
winces in pain --but Chick doesn't
notice. He's already upon the
OFFENDERS, heaving them against the
wall.

Vanity streaks inside, blazes up the
stairway, ducks behind a GROUP of
GIRLS...

CHICK turns instantly -- the door is
closed -- VANITY, gone. His eyes dart
up the stairway -- nothing. He shrugs,
drags the Two Guys off.



(18) INT. CLUB -- UPPER BAR AREA -- NIGHT

VANITY watches as he moves away. She
jumps up, lunges onto the dance floor,
CRASHES into a waitress, JILL, whose
tray SMASHES to the floor--

JILL
What are you retarded or
something?! Why don't you look
where you're going?

She's 18 years old, blonde and pretty in
a cute, innocent way. A Daisy Mae-type
whose emotions form so quickly, she has
trouble sorting them out. Right now
she's mad as hell -- she thinks--


VANITY
Sorry ... where's the office?

Jill squats, picks up the broken glasses-
-

JILL
Do you think you can just come
in here and take over?

VANITY
I said I'm sorry -- what do
you want me to do? Where's
the office?

Jill points -- Vanity hurries away --

JILL
(triumphantly)
No one's in!

Vanity stops dead in her tracks, does a
slow burn. She walks back to Jill--

VANITY
Okay, so you got me back,
fine. Listen, I'm from out of
town. I have to see the
manager, it's important. I'm
a real good singer and dancer.
I know he could use me.

JILL
Do you have any experience?

Vanity simmers, enunciates every word--

VANITY
Yeah...definitely.

JILL
Follow me.

And she turns on her heels, makes her
way through the club, moving into the
vicinity of the stage. Vanity follows
her reluctantly, casts a look to the
band. She spots Prince for the first
time -- stops instantly...

His effect on her is instantaneous.
Passion surges through her like a tidal
wave. His hair, face, eyes -- it all
conspires to make her weak. It's like
meeting someone for the first time, but
seeing so much of yourself in them, that
their lips, eyes, mouth -- you're
certain you have touched, and the desire
to be with them becomes so strong that
the very act of touching will release
you in a way you never thought
possible...

Prince brines "Let's Get Crazy" to a
rousing, blistering end. Suddenly the
stage is plunged into darkness. The
CROWD goes WILD!

^^^Damn you weren't playing were you? Now let's see you do the same thing for Graffiti Bridge.

[Edited 5/8/12 10:15am]

missfee said:

^^^Damn you weren't playing were you? Now let's see you do the same thing for Graffiti Bridge.

[Edited 5/8/12 10:15am]