WARNING: FOR ADULT VIEWING ONLY AND THEN NOT FOR THOSE OF A SENSITIVE DISPOSITION. ONE SCENE IN PARTICULAR MAY GIVE YOU LIFELONG NIGHTMARES. YOU HAVE BEEN WARNED.

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Welcome to October’s edition of Stop Making Sense your regular Sunday fill for all that’s new in the world of music-cinema. My name is Chris Stevens, and you can call me Kit, and I will be your host for the next thirty-minutes.

This month’s show is devoted to the brand new music romance, the Fall release that everyone is talking about, Dusk to Dusk, a film which USA Today described as a stirring uplifting moral tale of fidelity against the odds with even more uplifting tunes. And which The New York Times wrote ‘A complex neo-structural narrative exploring human relationships and the futility of everything. One for all the family”. Well viewer you will have to make your own mind up and we will help you to do that as we preview parts of Dusk to Dusk as it tells, through the songs of American popular-music sensations The Kings of Leon, the life and love of a young couple and their troubled times. Will it turn out to be loves young nightmare or will it be happy ever after after-all?

We start with a preview of the opening scene where we see Dusk To Dusk’s two lead characters, Molly and Joe, riding along an ocean-view Freeway in a Ford Edsel. They are back in happier, more hopeful times.

Molly is at the wheel, and Joe in the passenger seat, head back, dark-glasses on. They sing in turn.

Joe: I’ll be the one to show you the way

Molly: You’ll be the one to always complain

Joe: 3 in the morning come a bang bang bang

Molly: All out of fags and you just can’t wait

Joe: Cancel the thing that I’d said I’d do

Molly: I don’t feel comfortable talking to you

Joe: Unless you got the zipper fixed on my shoe

Molly: Then you’ll be in the lobby drinking for two

Both: I’m a gonna show the way

Back to the studio and Chris Stevens as he deadpan speaks to the camera, us, saying ‘Sadly this state of affairs is not to remain for Joe and Molly as you will see in this following scene which finds Molly estranged from Joe’.

The dawn is barely up and Molly’s fingers bring pleasure to her beneath her duvet. Then her bed bursts into flames. Molly moans murmuring:

My sex is on fire. Consumed with what’s to transpire.

The camera cuts away to a nearby near-naked singing quartet commonplace crowded about her wardrobe, flinging off their gingham gowns, to reveal the two female bodies clad in bra and panties wearing Newt Gingrich masks and two male bodies in leather shorts and dog-collars wearing Callista Gingrich masks each holding a fire-extinguisher, their hoses deployed as microphones as they chorus:

Her sex is on fire. Consumed with what’s to transpire.

The camera pans back to Molly’s face, distant expression, self-absorbed eyes, faint smile as she sings:

My sex is on fire.

Cue further dancing as all the de-Ginghammed Gingriches then douse Molly’s bed with white foam.

Molly alights from her variously saturated bed casting the duvet aside, content look still upon her face, and with a shrug of her shoulders as if to say ‘That’s life!’ she moves to her bathroom to clean up.

As the film continues we hear the voice-over of the show-presenter Kit commenting on Molly ‘We now see her  having showered and brushed her teeth singing to the mirror and where viewer there then follows a long scene of frankly the surreal and the spiritual all mixed-up, Molly’s epiphany if you like, well I will say no more, see for yourselves…’

Molly sings to the wall-mirror above her sink (toothpaste-foam in her mouth and upon her chin)

I’ve been roaming around, I was looking down at all I see

Painted faces fill the places I can’t reach

You know that I could use somebody

You know that I could use some body

Scene cuts to a Country and Western duo stood in her bath, sharing the attachable-shower-hose, its head serving as a microphone as they sing:

She’s been roaming around, she was looking down at all she saw

Painted faces fill the places she can’t reach

You know that she could use somebody

The camera pans back to Molly (who having finished brushing her teeth) exiting her bathroom as her eyes fix on the camera she sings

Someone like you and all you know and how you speak

Suddenly Molly is in a street-market and its early morning trade. She continues to sing.

Countless lovers under cover of the street

Various panning shots of couples in varying states of love. They all sing

Someone like me, someone like me

Someone like me, somebody

Molly has bought several peaches by way of her breakfast, and we close up to her face as she bites into one and juice dribbles soft-focus down her chin. She does not so much walk through the market amid the early morning customers as Ginger Rogers glides. As she proceeds along the street she leaves the market-stalls behind her coming upon residential homes on either side. She turns left into a cul-de-sac and moves toward its end and beyond it to the grasslands that meet it.

A baritone from above intones

When the roll was called up yonder

We see an unshaven man, played by Vincent D’Onofrio, The Presence, pronouncing from an iPad

I hope you see me there

Molly gazes up in mock-wonder, finger to her mouth, and then lowers her eyes to the river before her.

It’s in the water, it’s where you came from

The Presence continues.

A gospel choir appears, they sing:

It’s in the water, it’s where she came from

Camera pans back to Molly

It’s in the water, it’s where I came from?

The Gospel Choir responds

It’s in the water, it’s where you came from (Evolution’s Hosanna).

Back to Molly.

It’s in the water, it’s where I came from.

She dives in.

The choir singing amplifies.

It’s in the water, it’s in the story

It’s where you came from, the sons and daughters, in all their glory

Molly mermaids through the green-blue heading towards the bank on the other side. She emerges, water dripping off of her, along with the river-debris.

She sings.

I’m the rose

That was called from yonder

Never sold myself away

As the muddy water slides off her skin, a black shadow appears to emerge from her, as a ghostly song emanates nearby.

Molly continues to sing but has changed her tune

All the black inside me

Is slowly seeping from the bone

Everything I cherish

Is slowly dying or it’s gone

Kit returns to voice-over ‘We the audience see her remembering. What is she remembering? Lost love? Let us return to the scene’.

She further sings

Little shaken babies, and drunkards seem to all agree

As we see shuddering nursemaids floating across the screen.

Once the show gets started, it’s bound to be a sight to see

Then imploringly

I, I won’t ever be your cornerstone

I, I don’t want to be here holding on

I, I won’t ever be your cornerstone

Molly fastens her pace heading for the trees and their cover.

A tentacular spectacular of Octopuses sing

Watch her run, can you feel it? (x4)

We return to the studio,  ‘Well viewer’ starts a wide-eyed Kit ‘there are no words I can use to do that justice. So I won’t even try. Instead we then move to a scene from Joe’s perspective as we see him in a downtown bar, lost in a beer with thoughts of Molly’.

Joe croons

In the dark of the night I could hear you calling my name

Pans back to Molly now running among the trees.

Pans back to Joe as he plaintively continues to croon.

With the hardest of hearts I still feel full of pain

So I drink and I smoke

Camera revealing his over-spilling ashtray and a nearby rueful-eyed barman.

And I ask if you’re ever around

See him gesticulating such to fellow barflies and other bartenders.

Even though it was me who drove us right in the ground

The aforementioned bar patrons now sing it back.

So he drinks and he smokes

And he asks if you’re ever around

Camera briefly flashes up Molly’s face.

Even though it was him who drove her right in the ground

Camera returns to Molly a little longer this time as we see her now seated on a rock near a tall tree overlooking a passing stream, lost in contemplation.

Pans back to Joe singing

See the time we shared it was precious to me

But all the while I was dreaming of revelry

Joe takes another swig of beer followed by another drag on his fag.

The gospel choir return crooning eerily along with Joe

Woooo-hooo-hooo-hoooo (and again)

Going to run, baby run like a stream down a mountainside

Pans back to Molly by a mountain-stream as Joe continues his solemn song

With the wind in my back I don’t ever even bat an eye

Just know it was you all along who had a hold of my heart

But the demon and me were the best of friends from the start

Woooo-hooo-hooo-hoooo (and again)

Joe sings on and camera cuts away to see Molly murmuring in unison.

So the times that we shared it was precious to me

All the while I was dreaming of revelry, dreaming of revelry

‘And there viewers we have it’ as we cut back to the studio and Kit, ‘we have to leave Joe and Molly there. Are they too far apart or can love’s dream reconcile them? You will have to buy tickets when it hits a cinema near you to find out.

Join us next month when we preview the forthcoming blockbuster Quitting Time, the life and times of America’s sweethearts The Roches. Bye for now, take care folks’.

All lyrics strictly copyright of the Kings of Leon