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| From | "Larry O Dean" <larryodean@poetrycenter.org> |
| Subject | Re: Music in Film |
| Date | Mon, 16 May 2005 11:00:14 -0600 |
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Durben, Steven writes:
> I wonder if Tarentino may be in part to blame for this irony fixation in
> film? And as Alanis might say, wouldn't that be ironic! :)
> I also can't help but wonder if and where Tarintino snipped the idea and
> use of music for this scene from.
His whole career has been based on borrowing heavily from other sources, and
then explaining himself away as a film geek giving props to his influences.
Reservoir Dogs is based on a (much better) Chinese movie called City on
Fire, for example. The in-jokes in his movies are endless (and, to me,
endlessly annoying). He has genuine talent as a director, I think, in terms
of energy and framing, but I am not a fan, more because of this relentless
borrowing and recycling than the graphic content of a lot of the movies. He
is so post-modern it gives me a headache!
> I think I'm with you in the sense that when the score tries to
> hard to create the emotion rather then simply enhance the scene, it can
> cheapen the impact for me (per ringing false). However, it's funny because
> I have been revisiting some old Bergman films. In "Through a Glass Darkly"
> for example, the music (Bach's solo cello) almost knocks you over at times
> to convey the somber, isolated, dark mood and yet I love it's use.
Bach -- instrumental music -- is a far cry from sticking, say, a Nick Cave
number in that same scene with somber and/or downbeat lyrics, in an effort
to telegraph what you're supposed to feel. A good example of a pop score is
the instro Yo La Tengo music in Hal Hartley's Simple Men.
> Similarly, to music being to heavy handed in conveying emotion...when the
> score has lyrics that literally paint a picture of what your already seeing
> on the screen to double the impact (I guess), that drives me nuts. I think
> Forrest Gump had a few of these moments but I've forever blocked them from
> my mind.
Great example.
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