Out of all of the modern interpretations of film-noir produced in the 1970s, The Long Goodbye (1973) is by far the most aesthetically interesting. This isn’t only because of its integration with counter-culture ideas and values, but with its continuous critical assessment of genre tropes. This critique, which extends to the literature and music as well as the films of the hindsight-based movement, is considered … Continue reading The Long Goodbye (1973, Robert Altman) – A Musical Critique of Film-Noir.
It must have come as a political shock to see a film in 1965 highlight, with such casual brutality, the privilege of the male patriarch. Agnès Varda’s third feature, Le Bonheur, is such a contradiction in its conveyance of a happiness, ignorant of morality, that its shock is rarely diminished. The film is a colourful, seasonal evocation of a very unusual ménage à trios which … Continue reading Mozart in Le Bonheur (1965) – Agnès Varda.
David Lynch has a very clear and obvious interest in music. This interest finds its way into his films via a number of different methods and often build upon the director’s main recurring themes and ideas. What makes David Lynch distinct from other American directors with interests in music such as Martin Scorsese and Woody Allen is that Lynch’s interest has peaked at a point … Continue reading David Lynch’s Musical Formations of Cinematic Ideas (The Big Dream).
This article contains spoilers. Though drenched in visual complexities and sharp, hap-hazard editing, Ingmar Bergman’s Persona (1966) is film that is aurally interesting as it is exhilarating to view. Its opening segment of film footage from all corners of cinematic life, spliced together to form a montage of passing thoughts and nightmares, is actually a beautifully put together piece of sound editing as well. This … Continue reading Persona (1966) – Consequences of a Silent World (Ingmar Bergman)
The relationship between sound and vision in film is one that is complex and almost indefinable in a broad sense due to each director and composer treating such relationship in different ways. The two examples about to be discussed are almost reverse images of each other’s effects; the same method has been applied but for different reasons and different results. Much examination has taken place … Continue reading Musical Emphasis on Visual Words (François Truffaut and Pier Paolo Pasolini)