I uploaded a video on my YouTubechannel dedicated to Mary Bee Cuddy, the leading female character in The Homesman (USA, 2014), a film directed by Tommy Lee Jones.
Wikipedia tells us: “The film shows the unsparingly harsh and difficult life of early settlers of the American Midwest in the 1850s. The Homesman has been called a ‘feminist western’. Critics have noted that the lives of women during this time are rarely explored, as opposed to men, (…).”
I am impressed by the story of Mary Bee Cuddy (played by Hillary Swank), the courageous and compassionate leading female character in The Homesman.
Except for one, all photos in the video are stills from the film (btw: notice my choice for presenting them in ‘sepia big grain’), and most of them focus on Mary Bee Cuddy. I combine these shots with music by John Adams: Christian Zeal and Activity, as I tend to associate this piece of music with Cuddy’s character and outlook on life. IMHO John Adams‘ music and the stills from The Homesman offer a good combination of auditive and visual Americana. I hope you’ll grasp that unmistakeable Americana-feel as you watch the video.
Even iets over een bijzonder geslaagde, al wat oudere Nederlandse speelfilm. Ik heb nu eindelijk es naar de (paar jaar geleden door mij aangeschafte) verfilming gekeken van Vestdijk-roman ‘De Ziener‘, die tezamen met nog twee andere boekverfilmingen – ‘Ivoren Wachters’ en ‘Het Glinsterend Pantser’ – in 2012 op dvd werd uitgebracht. De drie romans werden in 1998 voor televisie verfilmd ter gelegenheid van Vestdijks 100e geboortedag in datzelfde jaar. Carine Crutzen als Toos Rappange, de lerares Frans in ‘De Ziener’
‘De Ziener’ vind ik een juweel, een meeslepende film die van begin tot eind weet te boeien. Het verhaal speelt zich af in de jaren vijftig in een kleine Nederlandse stad, waar de 40-jarige werkloze Pieter Le Roy in zijn vrije tijd vrijende paartjes begluurt. Bij zijn nieuwe huurster, een lerares Frans, komt wekelijks een leerling op bezoek – een jongen die zij ook op school lesgeeft – om Franse literatuur te bespreken. Om hen te manipuleren, stuurt Le Roy een roddel de wereld in over een vermeende relatie tussen de twee. Behalve beroering in de kleinsteedse gemeenschap brengt Le Roy’s gemanipuleer de juffrouw en de scholier nader tot elkaar, maar houdt de relatie stand? Porgy Franssen als ‘ziener’/voyeur Le Roy
De kleinburgerlijke benepenheid van de jaren vijftig wordt in ‘De Ziener’ ten voeten uit getekend, met een prachtige Carine Crutzen als de 36-jarige vrijdenkende lerares Toos Rappange in de hoofdrol en ook sterk spel van Porgy Franssen als de ziekelijke ‘ziener’/voyeur Le Roy en van Gijs Naber als Dick Thieme Backer, de sympathieke 17-jarige leerling van de juf. Dat het ontrollende drama moeiteloos invoelbaar is vanuit elk van de drie zeer verschillende hoofdpersonages is behalve de verdienste van Crutzen, Franssen, Naber en regisseur Gerrit van Elst natuurlijk ook de grote verdienste van Simon Vestdijk. Een heel mooie boekverfilming!
In this documentary – produced and directed by me – I explore the dimensions of a cultural musicology, through covering debates of musicologists on a wide range of topics at a symposium (Göttingen, September 2012), a workshop (Amsterdam, November 2012) and a panel session (Leiden, March 2013) and through interviews with five renowned musicologists (Birgit Abels, Tomie Hahn, Lawrence Kramer, Wim van der Meer, John Richardson).
The film has the following outline/chapters: Introduction | Musicology and its subdivisions | What’s in a name? (or, what’s wrong with ‘ethnomusicology’?) | Music as cultural practice | Sensational knowledge | Music(ology) in post colonial discourse and cultural theory | The transformation of the idea of culture in (new) musicology | Framing | World Order | Planetary | Power, Institutions, Orthodoxies | Musicologica | Sharing knowledge… how and with whom? | Music and its representations | Shruti | Embracing restlessness | Final notes | End credits (+ some funny stuff) ||
Filmed in 2012 and 2013 in Göttingen, Amsterdam and Leiden.
In my experience they are few, films that get deep into your system and always stay with you, but I think I just watched another one over the weekend: ‘Melancholia’ by Lars von Trier.*
Trailer of Melancholia
From start to finish I immensely enjoyed this deeply romantic film. A film all about longing. I couldn’t think of a better choice than Wagner’s (Tristan Vorspiel) music for this film.
Prologue, the opening minutes of Melancholia
I think it’s quite obvious to label this film as ‘deeply romantic’ and about ‘longing’, but to my surprise the vast majority of web-reviews and web-articles on the film fail to mention these two all-pervading elements and instead merely stress the course of main character Justine’s depression, which is indeed a predominant element that moves forward the film’s story. However, there can be no doubt about Von Trier’s deliberate choice for Wagner’s music throughout Melancholia to evoke a constant sense of longing.
The film focuses in particular on how two sisters, Justine and Claire, experience the oncoming and eventually unavoidable destroyal of humankind, caused by a collision of the planet Melancholia with Mother Earth. Thanks to a fascinating story, Wagner’s overpowering music, an excellent cast, a wonderful cinematography and last but not least many memorable scenes of great beauty – in which Von Trier has interwoven allusions as well as direct references to great works of art – , Melancholia satisfies on all levels.
Bruegel’s Hunters in the snow, appearing twice in Melancholia
The film carries elements of philosophy and psychology and its value and strength – as I see it – lies neither in credibility nor coherence of its story, but in how a chain of human experiences comes across, giving us a meaningful peek into the human psyche under stressful circumstances. Under those conditions it’s no surprise that in several scenes the film also refers to altered states of consciousness and to the visionary.
Philosopher Slavoj Zizek’s ethical verdict on Melancholia: awareness of our finality should offer us optimism instead of pessimism
Von Trier’s Melancholia ponders mankind’s finality and its place, value and purpose, both on earth and in the universe. This can be experienced in particular during meditative segments where dialogue is absent and the imagery and Wagner’s music take over to put us in an unmistakable mood of – to put it in Wagner’s own words about his Tristan und Isolde – “an endless yearning, longing, the bliss and wretchedness of love; world, power, fame, honor, chivalry, loyalty and friendship all blown away like an insubstantial dream,” for which there is “one sole redemption – death, finality, a sleep without awakening.”
* For an interesting interview about Melancholia with director Lars von Trier (but not before you’ve seen the film), check this link.
My experiment concerned with adjusting the ‘domestic version’ of F.W. Murnau’s cinematic masterpiece Faust to Timothy Brock’s Faust-score – composed for the ‘export version – has reached its completion. The result of my effort can now be watched in one go on my YouTubechannel or here embedded below. Watch the spectacular result of an incredible amount of editing from my part and see how I’ve found a way to combine the ‘domestic cut’ of Murnau’s Faust with Timothy Brock’s brilliant score for another cut of Murnau’s Faust, the so-called ‘export version’, which is almost 10 MINUTES LONGER(!) than the original domestic cut. Do you recognise the challenge here? I succeeded in fitting Brock’s 115min export version score to the 106min domestic cut, by endlessly manipulating the duration of sequences in the domestic cut to get it sync with Brock’s score. As a consequence the adapted domestic cut became of course also 115 minutes! Imagine the job I had to do here, I had to edit in such a manner that the film should keep its natural pace and feel, while all the time I had to manipulate its speed. Sometimes sound and image were half a minute out of sync! Also, beyond the manipulation of speed/duration of sequences, the film is presented entirely in its original order. If one keeps that in mind I think the result of my effort is quite spectacular.
An adjusted domestic Faust with Timothy Brock’s score, my edit.
The Faust-cut for which Timothy Brock wrote his score, the ‘export version’.
In 2007 the closing scene of Steven Spielberg’s A.I., filmed in bad quality from a computer screen, was uploaded on YouTube, this video…
By April 2012 the video had almost 200.000 views and many hundreds of likes and comments. Impressive figures, but what really makes the video interesting and very intriguing to me is that most viewer comments relate to a tearshedding experience when watching this scene. To highlight this ‘sobbing effect’ I decided to do something crazy. I went through the comments, picked the sniffy ones out and then put all the stuff together, separating evry remark only by this ‘|’ mark. In this way the response might work as a ‘special effect’ and also maybe as a sort of tribute to the A.I.-scene that pokes in the gut of soo many people. At least half of the incoming response on the clip is ‘crying’-related. No matter how one looks at this scene – as a tearjerker, a masterfully crafted sensitive masterpiece or something in between – anyone can grasp that this kind of watery response in huge numbers on a video is unusual. You’ll find the response below. I’ve abbreviated many of the comments, but of course I didn’t correct their spelling errors.
OK, here we go… “I cried buckets of tears while a pang gripped my throat|I cried so hard while watching this video|I am a really big guy, bit this makes me cry like a five year old boy!|watched this again to see if it is as sad as i remembered…. and it is *in tears*|It’s so sad…but it’s also so beautiful. It touches something deep inside of you. Tanks Mr. spielberg for these tears|I stopped at 2:33 because I knew waterworks were coming|I tried to use this movie as an example in an essay. I cried like a baby instead|Nothing like having your heart ripped out your chest!back then i cried like a fucking bitch and right now, i’m crying like a whore!| Continue reading →
Wow, fabulous… veery impressive! The awesome organ playing here works perfect as an addition to the events in Murnau’s classic ‘Nosferatu’. Hats off to Mathias Rehfeldt’s brilliant achievement! A must-watch!
Prem Sanyas/Light of Asia (1925, dir. by Franz Osten & Himansu Rai), a spectacular and rarely shown epic silent film, will be presented by the Amsterdam Tropentheater on Friday 7 October 2011. The film will be screened in the Mauritszaal of the Institute of The Tropics at the Mauritskade and starts at 20:30. Not to be missed!
“Two and a half thousand years ago there lived in North India a prince, Siddharta, who renounced his worldly wealth and a position and wandered the land in search of understanding and the secret of sorrow. After many experiences, as he sat one day in meditation, illumination came to him and he became The Buddha, the Enlightened One. Thereafter, through out his life, he taught the law of righteousness, the Middle Way.” (from the book ‘The Light of Asia’  by Sir Edward Arnold)
The celebrated Rajasthani gypsy ensemble Divana provides live musical accompaniment. The silent film tells the story of Prince Siddhartha Gautama (Buddha), who achieved spiritual enlightenment by rejecting all material wealth.
I’ve finished a very interesting experiment concerning the cinematic masterpiece Faust by German director Friedrich Wilhelm Murnau. In eight videos on my YouTubechannel, all embedded below here in this post, the so-called ‘domestic version’ of the film is shown in a slightly different way than usual. For a good reason. The videos show the result of an incredible amount of editing from my part, the result of an experiment to find a way to combine the ‘domestic cut’ of Murnau’s Faust with a brilliant score, written by Timothy Brock for another version of this film, the so-called ‘export version’.
The Faust-cut for which Timothy Brock wrote his score, the ‘export version’.
Now, let me show you what I’ve done and explain a little bit further how and why I did this.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 1
F.W. Murnau’s masterpiece-film Faust was released in 1926 and there are seven known versions of the film. The most well known version is the so-called ‘export version’ with english titles, that premiered in december 1926 in the USA. The duration of the export-version is 115 minutes and 30 seconds, while the newly discovered ‘domestic version’ a couple of years ago lasts 106 minutes, the domestic version being the original ‘German print’, the one with German titles that was shown at the time in German cinema theatres.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 2
The export print is darker and softer, lacking the detail and clarity of the domestic version. Incidentally, the differences between the export and the domestic version are considerable. There’s no difference in terms of the overall structure of scenes and storyline, but the pacing and lengths of scenes often vary greatly and there are often striking differences in the order and in the composition of shots, the domestic version certainly being the superior of the two.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 3
Timothy Brock’s orchestral score, written for the Faust-export version is a masterpiece, a fantastic accomplishment, perfectly keeping with the operatic and epic nature of the film. The way Brock uses operatic- and leitmotif-storytelling and storydeveloping techniques in his music for the export version of the film is absolutely stunning. But, as soon as Brock’s score is played with the domestic version, picture and sound are almost evrywhere out of sync, that is, numerous details and leitmotifs of the score then miss the point, lose their ‘iconic’ meaning and strength and simply can’t work as they do so perfectly in the export version.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 4
Isn’t it possible then to combine Brock’s music with the greatly cut and very clear print of the domestic version? The answer is ‘no’ when you play the music along with the domestic film in its original speed. The answer is ‘yes’ (that is, in my opinion) if you manage to adjust the speed of numerous sequences of the domestic film. Only when countless sequences are ‘manipulated’ in terms of duration the music is able to work once more on the pictures (and vice versa) as it does in the export version.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 5
Now, I took it as a challenge to try to make Brock’s music work as well in the domestic cut version of Faust and with this aim in mind I’ve edited the complete domestic Faust.* I think the result of my editing is quite interesting and after the changes I made in the duration of countless sequences – a time consuming job that requires precision and a lot of patience – I personally think this brilliant music now also works very well for the complete domestic version.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 6
For me the result has been quite spectacular. I’ve tried to keep the duration manipulation of sequences within reasonable measures, in order to maintain as much as possible the natural look, tempo and feel of the domestic Faust version. **
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 7
I use all of Brock’s score and all of Murnau’s film, there’s no material left out by me. Enough said, hope you’ll find this ‘experiment’ as fascinating as I do and I hope you’ll enjoy these videos.
An adjusted domestic Faust with Timothy Brock’s score, my edit, Part 8
* If one might argue there’s already published a 2dvd set of Murnau’s Faust that plays both the export version and the domestic version with Timothy Brock’s score, I’d like to remind one then once more that Brock wrote his score (in 1995) for the ‘export version’, a perfect fit. If, however, the (later discovered) domestic version is played with Brock’s score on that dvd edition – an excellent release btw, the best you can get of Murnau’s Faust – evrything is totally ‘out of sync’ almost all the time, from seconds to even halve minutes. So, the option given with that dvd-edition to play Brock’s score with the domestic version was useless, didn’t pay off in any way. Seeing the wrong outcome of Brock’s score with the domestic version on that dvd-edition made me wonder and think about an alternative and that’s how I must have come up with the idea for an experiment, the result of which can be seen in the eight edited domestic Faust-videos in this post.
** An important question to be asked and probably raised immediately by film experts and critics: does the film still look like Murnau’s Faust after my experiment? A valid question of course. Personally I think it still looks like Murnau’s film in evry way, despite the fact that I affected the original ‘domestic version’ by manipulating the duration of shots and scenes. Anyhow, my ‘adjusting’ method was inevitable to make Brock’s score work for the domestic cut.
On 6 August 2011 the British Film Institute in London screens Light of Asia (1925, dir. by Franz Osten & Himansu Rai), a spectacular and rarely shown epic with a new live score from Pandit Vishwa Prakash and his team of musicians (Sanju Sahai, Surjeet Singh, Mitel Purohit, Debipriya Sircar, Jonathan Lawrence and Uttara Joshi). Read more about it here.
A fantastic project!