What is at the bottom of the film, as well ... 'stories', beyond the theories of analytical and critical for us individually, or fragments of imagery, represented that of interiority is often confused with the perception of our life?
Or rather what is in those of us privileged moments ,
comprise the sum of a shot, a gesture, a face, words and musical notes some highlights?
There are several elements that contribute to the success or not of a film: literature / screenplay, decoupage, editing, cinematography, directing, acting ... because a film is still a point of intersection between the arts and more languages. Or, according to others, may also be a 'mill' of various codes of expression higher.
Although usually a bit 'in the background for those occupa di linguaggio cinematografico, anche le colonne sonore hanno importanza basilare: ce ne sono alcune che sono solo funzionali al film (ne costituiscono cioè solo il 'fondo sonoro' come le chiamava talvolta Buñuel negli anni 60-70 quando non ne faceva quasi uso).
Eppure ce ne sono altre che a volte hanno un valore maggiore del film stesso, o hanno una tale personalità da fuoriuscire dal loro ambito, costituire un'opera d'arte indipendente e diventare classici, altre volte ancora s'integrano perfettamente con i contenuti del film attraverso la resa puntuale di un clima emotivo, psicologico.
Altre non sono state composte appositamente per il film, ma provengono dalla storia della musica, e sono materiale di pregio preesistente chosen for some scenes, usually to enhance and enrich a sequence.
In this last case please note the use of huge, by Visconti,
(pictured, Romy Schneider in 'Ludwig', 1973)
of Wagner, Strauss, Mahler and other great classical pieces, which will outline now, why would an encyclopedia only for that purpose. Many of these classics are better at setting the story in an era of individual and context, but are sometimes also used 'improperly', at least in the ear of a lover of music, because new functions to signify other than what the musician of secoli passati voleva dirci, anche se almeno nel caso di Visconti c'è una maniacale cura nella ricostruzione storica.
Oppure si incontra l'uso strategico, come contrappunto tra le sequenze, di Schubert in 'Barry Lyndon' (1975) di Stanley Kubrick.
O ricordiamo il caso peculiare di un film come 'Anonimo Veneziano' (1970) di Enrico Maria Salerno, che oltre al famosissimo tema di Stelvio Cipriani, rinfrescò la memoria classica con l'uso del Concerto per oboe e archi di Alessandro Marcello , che gode da allora di una seconda (o meglio, ennesima) giovinezza.
Gli esempi sono tra i più disparati. Qui si tenta di ricordare alcuni momenti privilegiati soundtrack, with a value in itself already, maybe not according to the trivial schema 'song and the movie', but as little as possible in the issue discounted meaningful 'cinema and music'.
A special case is the movie 'Diva' by Jean Jacques Beineix (1981), which also reflects on the theme of stardom in contemporary times, in relation to the opera, but also to copyright, the uniqueness of the performance of 'art, the reproducibility (real or otherwise) of the musical' living and true 'in the records: the soundtrack has Vladimir Kosma beautiful songs, but also an interpretation of' iconic 'air ' Well .. . shall go away ' taken from 'Wally' di Alfredo Catalani, cantato da Wilhelmenia Wiggins Fernandez nello stesso girato del film.
Un ulteriore rapporto privilegiato musica/film è "Tè nel Deserto" di Bernardo Bertolucci (1990): al di là del giudizio sull'opera, la colonna sonora di Ryuichi Sakamoto ha animato letteralmente molte sequenze, dato vita a momenti a volte quasi panoramico-documentaristici, aggiungendo un'idea di destino incombente, comunque presente nel film, con quel modo di comporre attento alle atmosfere, alle minime variazioni degli stati d'animo, fino a rendere la musica metafora e co-significante al film, a suggerirci che il 'deserto' di cui si trattava era prima di tutto un deserto interiore, un senso di perdita of himself that became 'Sheltering Sky'.
Sakamoto is a remarkable composer, who for years was imposed for both soundtracks extraordinary, both in collaboration with David Sylvian, or educated in jazz, and pop music (but quality), as well as being a pianist (of all kinds) out of the ordinary.
Also from Bertolucci, but for the movie "Stealing Beauty" (96) was chosen a mixed soundtrack of contemporary pop-rock songs, not at all in my opinion, including the repechage of the excellent, but used almost everywhere, films and commercials, Portishead.
be noted to show the extraordinary song "Alice" by Cocteau Twins , which unfolds in different sound levels, thanks to the angelic voice of Elizabeth Fraser, an icon of English new wave, inventor of the ethereal dream pop since the early 80's. Another little gem is
audio 'Take me with you' Elizabeth Fraser for the movie / existential fairy tale 'The Winter Guest / The Winter Guest' (97, reg. A. Rickman), with music by Michael Kamen, which revives the Scottish literary and poetic, intimate and moral, so different from current or screaming from the cinema 'from gravure'.
Elizabeth has been an innovator, but also at the bottom of the experiment was rather close to the detail of his mystical land. Who knows this is not even the royal road against the dying of the arts:
distill emotions meet again his soul and not deny their roots, away from a market that flattens and approve everything, and that would have us join models impersonal, pre-packaged and commodified, pre-determined by others. Still
Sakamoto is the author of the remarkable soundtrack controversial film 'Merry Christmas Mr. Lawrence / Furyo' (Nagisa Oshima, 83) with the well-known song Forbidden Colours, also in voice sung by David Sylvian.
(frame from "The Belly of an Architect", 87, Peter Greenaway)
To return to 'contemporary classics' to be mentioned musical choices, specially targeted for many films by Peter Greenaway has always been interested in the links between cinema and letters, art, architecture, painting, geometry, fashion, golf has gradually explored in several films.
'The Belly of an Architect' for example developing the plot together with a visual architecture, especially Roman, having as a counterpoint to the exciting music of Wim Mertens and Glenn Branca.
Michael Nyman (except the rich career as a composer on his own) in addition to working in many later films of Greenaway, for 'Drowning by Numbers' (88) in particular writes trysting Fields which is a sort of reflection and expansion on themes Mozart, and at the same time a fascinating piece. Great skill that is also found in 'The Piano' for 'The Piano' (93) by Jane Campion. We should also mention
Wojciech Kilar for its extensive activities of contemporary composer, big scores for string orchestra, and film for his soundtrack to 'Dracula' Coppola (92) where stands 'Love Remembered', but much more dramatic for the soundtrack to 'The 9th Gate / Ninth Gate' Polanski (99), and the intense ground Vocalese with soprano Sumi Jo.
It's time to talk about our Morricone, would in turn require an encyclopedia in hand, ne sono già state scritte; tento di dire allora qualcos'altro: il suo influsso è stato molto forte, nei generi più disparati. Il suo modo di fare musica, dai lenti più sognanti alle tipiche chitarre cadenzate degli spaghetti-western (si pensi anche solo ai suoi lavori per Sergio Leone) sono fuoriusciti dall'ambito cinematografico, e ampiamente ripresi in vari generi musicali.
Nel Neofolk, Folk Apocalittico-Marziale e nel Military Pop dei gruppi degli ultimi 20-30 anni, valga su tutti l'evidenza dell'influsso morriconiano su alcuni brani dei Death in June, seppur frammisto a suoni più rituali e Old Europa di un'epica personale propria: "The Honour of Silence"
(scene from 'Ghost of Love' by Dino Risi, 1981)
never spoken instead of the very talented composer Riz Ortolani, another life spent in music to the movies. Numerous are his soundtracks, some famous, others unjustly underestimated here remember his fine work 'Ghost of Love' (1981) Dino Risi, dramatic film that belongs to the phase-introspective director and Schneider's one of the last film: actress out of the ordinary in the world but remembered more for the affected series of Sissi, which is not for movies, copyright or otherwise, which went pretty intense as an adult. Part of the soundtrack are
compositions Ortolani, turns to a smoky jazz, coined the atmosphere of the movie filmed in Pavia, and illuminated by Benny Goodman, guest star operation.
But the songs are more evocative and lush Ortolani and his orchestra, played obsession of feelings, time and people lost in the fog of memory, including ghosts and madness.
Within music / cinema face time to jazz only in passing, avoiding the musicals and Broadway, the relation between classical and Jazz Noir, but at least some soundtracks are memorable and remained in history:
'Elevator to the Gallows' is a Louis Malle film noir (57), with Jeanne Moreau.
Miles Davis created the soundtrack for watching the movie and improvised above so shocking.
(Jeanne Moreau, frame by 'Elevator to the Gallows', Louis Malle, 1957)
'Let's get lost' is a film by Bruce Weber (88) on the life of jazz trumpeter Chet Baker, the soundtrack consists of several pieces by Chet, who become the same story of his life in a b & w grainy.
From 'One from the Heart' of Francis Ford Coppola (82), note the collaboration between Tom Waits & Crystal Gayle (with Jack Sheldon, and Chuck Findley on tromba).
'Taxi Driver' il famoso film del 76 di Martin Scorsese ha una colonna sonora del genio del secolo in questo ambito, Bernard Herrmann (già storico compositore Hitchcockiano, si pensi solo al ruolo della musica ispirata ma così precisa nel contrappunto ritmo/montaggio in Psycho, Vertigo)qui impreziosita dal sax fluido di Tom Scott.
In jazz e dintorni ancora non posso non citare the Divine Sassy, ovvero l'enorme Sarah Vaughan, con una sua perla , in collaborazione con Quincy Jones, per il film 'Fiore di Cactus' (1969, Gene Saks);
o non ricordare l'esplosiva Shirley Bassey , l'icona degli 007 dalle enormi possibilità vocali, tuttora in attività.
(fotogramma da 'Il cielo sopra Berlino' di Wim Wenders, 87)
Cambiando genere, va segnalata l'originalità anche di una sorta di Road Movie Music unita al forte senso di fatalità del noir USA riletto però in Nord Europa nell' 'Amico americano' (77) di Wim Wenders , tratto da Patricia Highsmith, che mostra tra l'altro una Amburgo e Monaco di Baviera raggelate, mai inquadrate in quella maniera. La colonna sonora particolare e carica di tensione è dell'ottimo Jürgen Knieper, presente ancora per decenni in collaborazioni con Wenders, che qui gioca con gli archi e una melodia quasi intimistica per guitar, broken by sudden full orchestra.
Following Wenders will also build a soundtrack composed of songs of several rock bands-d'avanguardia contemporary, very successful for the song 'Until The End Of The World' (91) Crime + the City Solution 'The Adversary' ; also note the presence of David Darling, cellist class (and of course, the famous U2 on the other hand glissando in the family).
yet to be mentioned in the care for the music and poetic epic 'Wings of Desire' (87) which also contains one of best bits of Nick Cave.
(frame from 'Wings of Desire' Wim Wenders, 87)
Still in rock and film thickness, the disturbing 'Lost Highway' (97) David Lynch uses a beautiful song of David Bowie 'I'm Deranged', and
Nine Inch Nails 'The Perfect Drug' deliberately hallucinatory, as well as parts now historic collaboration with Angelo Badalamenti (Twin Peaks already).
For 'Batman Returns' (92) Siouxsie writes a provocative 'Face to face' with Danny Elfman, played on the double.
the soundtrack of 'The Crow' (94) is one of the last songs benriusciti Cure 'Burn'.
'Miriam si sveglia a mezzanotte/the Hunger' di Tony Scott (83) è stato un film simbolo estetizzante per una generazione: non molto considerato dal punto di vista di contenuti e regia, pare ai più una sorta di videoclip con un montaggio molto moderno per l'epoca, un delirio formale di erotismo patinato, vampirismo contemporaneo in senso lato in relazione con la sessualità.
Forse meno leggero di quel che si dica, in realtà la colonna sonora è curata, composta da brani classici (Lakmè di Léo Delibes ) e rock-darkwave, entra nello stesso narrato:
il film si apre con Peter Murphy dei Bauhaus, in un locale notturno, che interpreta 'Bela Lugosi's dead'(ripresa ampiamente anche in commercials, such as technical and stylistic choices for sound editing on the pictures).
(Catherine Deneuve in 'Miriam wakes up at midnight' / 'The Hunger' by Tony Scott, 1983)
In this way, trying to reconcile the past with the present , which is not seems to succeed very well in their respective films, the characters of Miriam, or to Nino in the 'Ghost',
conclude, although much more could be said, and probably will continue in future posts. In the movies mentioned, for one reason or another, music has an important role, beyond the vague emphasis on the function of vision. The ideal is to have
these records at hand, and having all these movies, but everything can be
fun doing the same journey together, and clicking on various links.
Josh
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