Drimble Wedge and the Vegetations – from Stanley Donen’s classic film Bedazzled.
As Jaime J. Weinman wrote on his Something Old, Nothing New blog, “I’m glad that Bedazzled (the  original, not the Brendan Fraser remake) finally got reissued. I notice from the booklet notes that Peter Cook expressed some reservations about Stanley Donen’s direction of the film, or at least the way he and Dudley Moore responded to his direction. As film neophytes working for an experienced director like Donen, they perhaps deferred too much to his judgment and didn’t give themselves all the freedom they needed to be at their funniest.
Also, by this time Donen — who had been living in Europe for years and had just made the innovative, fragmented Two For the Road — was filling all his movies with crazy camera angles and trendy ‘cinematic’ effects. Which works fine for something like Two For the Road, but not so much for a straight-up comedy-thriller (compare Donen’s incomprehensible Arabesque to the much more normal Charade, which he made only three years earlier) or a satirical comedy like Bedazzled . . .
But Cook and Moore are so funny that even a tilted camera angle can’t stop them. And despite my carping about Donen, he does bring a certain warmth to the film and to the relationship between Cook’s devil and Moore’s sad-sack Faust. And there are a number of scenes where he tones down the with-it technical flourishes and lets Cook and Moore have more leeway; and still other scenes where his attempt to be groovy sits well with the material.
Like this scene where Moore wishes to be a pop star so girls will love him — only to find that his fame is eclipsed within minutes by Cook’s rival act (‘Drimble Wedge and the Vegetations’). Moore’s music — the same melody arranged into two different styles of song — is a dead-on parody of late ’60s pop styles, and Donen matches it with a spoof of in-concert films and broadcasts.”
I think he’s entirely too hard on the film itself, which is a brilliant piece of satire, but he’s dead right about Cook’s satiric pop song. Here are the minimalist lyrics, aproproatelyspoken in an entirely flat, disinterested monotone:
“I don’t care.
So you said.
I don’t want you.
I don’t need you.
I don’t love you.
Leave me alone.
Just go away.
You fill me with inertia.
Don’t get excited.
Save your breath.
I’m not interested.
It’s too much effort.
Don’t you ever leave off?
I’m not available.”
Click here, or on the image above, to see this truly groundbreaking “anti-pop” song.