Why The Soundtrack to ‘The Bodyguard’ Is The Lost Art We May Never Find Again
The 1992 hit movie — The Bodyguard — starring the late Whitney Houston, who plays a famous singer — in need of a bodyguard (played by Kevin Costner) to protect her from the dangerous plots of a deranged fan — is celebrating its 25th anniversary.
The stunning revelation takes my breath away, and I can still remember sitting in the darkness of the tiny theater with my friends from college — completely enthralled by the supremeness of escaping for a couple of hours — into the world of my childhood idol.
The nineties were certainly an ideal time to be passionately invested in movies, and that’s because of the extra care that was taken to produce original stories — paired with the tracks that inspire the sounds of characters — against the backdrop of all the things that make us laugh and cry at the same time.
Great soundtracks are a thing of the past and that’s a shame. The tradition of anticipating blockbusters like Boomerang, Pulp Fiction, Romeo + Juliet and Waiting to Exhale, not to mention Gross Pointe Blank was always related to the music and how well the classics and newbies blend.
Also, Boogie Nights was the absolute shit.
My appetite for creation definitely stemmed from the pleasantries of bondage between the scenes in film and the background music that always elevated the hysteria or euphoric moments that can’t survive without intersecting.
It’s a lost art that needs to be recovered, but only if the reboots cease to give studio execs even less incentive to return to the better days — when paying to see a movie was double the fun.
For me, the soundtrack to The Bodyguard will forever be the standard of what defines the “complete package.” The gloriousness of Houston conveying the urgency of her voice through ballads like I Have Nothing and Run To You was epic then — and still stands as one of the experiences of a lifetime.
The stellar remakes of Chaka Khan’s I’m Every Woman and Dolly Parton’s iconic tune, I Will Always Love You — were in great hands, under the care of a national treasure with the voice of an angel who possessed the major requirement of that era — a fully-functional soul.
Houston’s estate recently announced that in honor of the 25th anniversary of The Bodyguard soundtrack album, there will be the “release of Whitney Houston — I Wish You Love: More From The Bodyguard on November 17.”
The new LP will be a dazzling compilation of the extra goodies that weren’t included in the original — including “previously unreleased live recordings from the film” and “an alternate version of a remix of I’m Every Woman.”
And even better — the highly-anticipated homage to Houston’s radically missed vocals, “will be available on CD and digital configurations as well as a limited edition of 2LP 12 purple vinyl edition, to be released at a later date.”
This latest announcement is a breath of fresh air and a nostalgically blissful trip back to a time when art was manifested with the authority of spiritual conversion — that was never meant to be converted into electronic goo and the disarmingly robotic entries that can no longer enhance the characters that aren’t being created.
Really good soundtracks are a handful a year and none of them muster the kind of impact that soared Titanic or heightened the mood strings of Love Jones — and that’s really because we’ve stopped being dreamers.
There’s no opportunity to harmonize the source of imagination without clutching the tools that were supposed to unite us, but only ended up flinging us further away from the tendencies that validate blood flow.
The Bodyguard was a decent film, but the energetic success of the soundtrack turned its release into a festival of talent with collaborative influences from legends past and current gems. Houston was in top form and nothing can compare to the range she unleashed in every single performance that gushed out the splendor of perfection.
The feeling of equating the best parts in your head, as evoking tracks give you permission to repeatedly day dream the lavish ending: when she rushes back and the tempo rises in response to the buildup of goosebumps.
Those elements can’t ever be replaced by the gliding of digits that don’t leave stains of love and commitment.
Those of us that remember those days — thankfully have the soundtrack to our lives laid out in its purest form, and when Whitney rises again to remind us — we will be ready.
And so will the potential of art making that needs to be restored in all its glory — and luckily the prognosis is quite good.
All we need is that human touch.