Tag Archives: mozart

Setter’s ‘Spectives: What Happened to All Those Great Opera Movies?

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Setter Drawing for Blog 082613Remember Franco Zeffirelli’s excellent film of Verdi’s Otello? Lush production, sexy direction, terrific acting, and of course, the great Placido Domingo as the titular Moor.

Why can’t we get more movies like that today?

It seems like there isn’t as much of an impetus to develop cinematic spectaculars based on classic operas as there was three decades ago, and I think that’s a shame. Once upon a time, you had Ingmar Bergman doing Mozart’s The Magic Flute, too. But now, it appears that directors of a certain stature are more content to craft large-scale pictures out of popular contemporary musicals than operatic standards. It makes sense from a commercial standpoint, as the latter have a more limited audience. From an artistic perspective, however, it’s lamentable.

I want to see a great celluloid version of Wagner’s Tristan und Isolde, darn it! And not the nonsense that is Tristan + Isolde, see?

Today, with New York’s Metropolitan Opera doing HD films of various productions, it’s easy to think that we’ve come to an era where the genre is made accessible to everyone. I don’t think that’s the case, though. Movies of productions aren’t the same as cinematic iterations that aren’t confined to one stage; Zeffirelli’s Otello is proof of that. It was an actual film, not a filmed opera. That’s one of the reasons why it worked so well onscreen. Editing, cinematography, music, art direction – everything combined to make a powerful whole. It became a motion picture.

I don’t think opera is a dying art, nor do I believe it should be relegated to the upper class. It’s for everyone, and the great works deserve to be viewed and listened to by all. That’s why I’d like to see more of the type of thing that Zeffirelli has done in the theaters – not just HD versions. Many of these stories are quite cinematic, with fanciful plots and engaging characters. Shouldn’t they be put onscreen where they belong?

I think so. And I hope one day, we’ll see opera once again take its rightful place in the cinema.

From Skip and Setter’s Creator: I Liebster You, I Liebster You … Now Liebster Me Alone

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Blog Sketch of Me 092213Wildly good news, everyone — this humble blog has been nominated for a Liebster Award by the estimable Bill Meeker, aka Frisco Kid at the Movies (love the blog, Bill!). Many thanks!

This is my first such nomination, and I can’t help but be both pleased and slightly intimidated by the idea. The rules of the game are as follows:

  • Bloggers who have been nominated must link back to the person who nominated them.
  • Nominees must answer the 11 questions given to them by the one who nominated them.
  • Nominees must also nominate 11 of their favorite bloggers (who have less than 200 followers) and assign them 11 questions to answer.
  • You CANNOT nominate someone who has nominated you!
  • You are not, in any way, obligated to participate.

OK, let’s see. No. 1 — done. No. 2 … here are the questions that were provided, as well as my answers:

1. Why did you decide to start your blog?

I thought it would be a nice way to showcase my writing in a context that fit my style. What a boring answer, huh?

2. How do you get inspiration for your blog posts?

Mostly by thinking about movies and issues surrounding them. I also force myself to be inspired by writing even when I don’t feel like doing so. I have to write to stay alive!

3. If you were stranded on a deserted island, what would be the most important object that you would wish you had brought with you, but didn’t? No borrowing of Tom Hanks’ solution allowed.

A DVD of The Seven Samurai. And a DVD player that’s immune to breaking down from having too much sand in it.

4. Do you ever get the feeling that there’s something going on that we don’t know about?

What? Where? Am I being followed? Who Am I This Time?

5. What is the Matrix?

It’s the Circle of Life. No, it isn’t. It’s My Party, and I’ll Cry If I Want to. No, wait —

6. What… is the air-speed velocity of an unladen swallow?

Do you mean an African or European swallow? AAAAAHHHHHH!

7. You’ve gotta ask yourself a question: “Do I feel lucky?” Well, do ya, punk?

Well, to tell you the truth, I sometimes lose track myself in all this excitement.

8. Is it safe?

It’s perfectly safe. Oh, and the dentist told me I only have two cavities.

9. What’s your damage?

I’m wracking my brain trying to get this reference. I feel so … unworthy.

10. Who ya gonna call?

I miss Harold Ramis. 😦

11. You talkin’ to me?

I’m the only one here. Literally. I mean, I’m a blogger. Maybe I’m not here. Maybe I’m a figment of my own imagination. What a concept.

OK, No. 2 — done. That was easy. Now here are my Liebster nominations of 11 of my favorite bloggers (with less than 200 followers), followed by the questions I would like to posit to them should they be interested in answering:

digital didascalia

silence cunning exile … maple syrup

Shelly’s Retirement Adventure

Movie Fail

Reel and Rock

jjames reviews

Selective Viewing

The Counterfeit Writer

My Classic Movies

Ellen And Jim Have A Blog, Two

Lulu Loves Films

THE QUESTIONS:

1) What was the experience that led you to start blogging about movies and/or culture?

2) What’s your earliest movie memory, and how did it shape your tastes?

3) Bernard Herrmann or Georges Delerue?

4) How much worse was Troy than The Seven Samurai … and could the former have been improved by being magically transformed into hot, steaming soup?

5) What’s your favorite French film that has been remade into a terrible Hollywood movie?

6) Groucho, Chico, Harpo or Zeppo (Gummo has been disqualified for these purposes)?

7) Which movie(s) would you take with you to the moon … if we had the capacity to live there and DVD players didn’t fly away because of low gravity?

8) Are you Aragorn, Gandalf, Frodo or Sauron?

9) Who’s less funny: Jerry Lewis or … Jerry Lewis?

10) Could Mozart beat up Beethoven with one hand tied behind his back?

11) If you could direct a sequel to any movie, which would it be?

OK, Nos. 3, 4 and 5 are done, done and done. Thanks in advance to all who participate, and here’s to the Liebster Award!

Setter’s ‘Spectives: Integrity? Don’t Make Me Hum

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Setter Drawing for Blog 082613So I’m watching Frances Ha. All of a sudden, this lilting music tickles the soundtrack.

“Hey,” I say. “That sounds like something from King of Hearts.”

Sure enough, it was. Snatched directly from the Philippe de Broca movie. In fact, the film’s main melody popped up numerous times during the proceedings.

Needless to say, it didn’t help me enjoy this rather tiresome Noah Baumbach flick any more than I already did. But there was another issue: It was distracting. I kept thinking about Hearts and how good it was. How much I wanted to see it.

Is this what Baumbach wanted when he was making Frances?

Unfortunately, this problem isn’t relegated to one movie. The Artist used a passage from Bernard Herrmann’s score for Vertigo, and I was confused about that, too. Started thinking about the latter flick as I was watching the former.

Bad, bad strategy for any filmmaker.

This goes past un hommage. It’s irrelevant. It’s sampling music from scores past and using it in other contexts. When a great score is applied to a film, it’s associated with it. You can’t pull the two apart. If you try, you bring up connotations that shouldn’t be there. Do directors want to do that?

I’d think they wouldn’t. Would Wagner want you thinking about Mozart’s Le Nozze di Figaro while you were watching Parsifal at Bayreuth? If you admitted that to him, he’d probably get all 19th century on you. (He was mean enough as it was.)

Unless it’s parody, a film should focus on itself. Otherwise, a movie loses its credibility. It breaks that fourth wall of sound, and the audience becomes aware of it. Directors shouldn’t want that. It’s jarring, not immersing.

I say unto filmmakers: Let’s keep-eth old scores where they are-eth. And commission new ones for your movies … or use tunes by a great composer that lack cinematic context. Something borrowed just makes me blue. Something different, however, may well be music to my ears.

Little-Known Operas That Should Never Be Filmed

Skip’s Quips: At Least They Didn’t Make a Movie About ‘Mr. Do!’

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Blog Sketch 082813Have we come to the end of the line for movies based on video games?

That’s certainly my hope. I don’t think I could sit through another installment of Mortal Kombat.

Guess I should be glad they didn’t make a flick about Frogger. Or should I bite my tongue?

I can see the tagline now: “The existential adventures of a frog who only wants to get to the other side.”

I wonder, though, if the moviegoing public has seen enough of this type of thing. After all, video games these days are more cinematic than ever, with plotlines and entire scenes developed through computer-generated animation. No one really needs a film based on a game that’s like a film anyway.

Don’t get me wrong: I’m not a video-game teetotaler. I actually grew up with them during their nascent days. Donkey Kong, Zaxxon. I even had a ColecoVision.

But I enjoyed them for their interactivity. That was a novel thing–to compete against your computer. Nowadays, video games are as much about watching the characters as much as playing them.

And I have to say, I find that interesting. Because the more, it seems, we gravitate toward a new technology and new experiences, the more we want the old incorporated into it.

Looking for movies in video games is perfectly natural. It’s like wanting to know more about Mozart and how he got his inspiration. The interest in the games spawns an interest in the characters.

Yet motion pictures based on these characters seem, for the most part, unsuccessful. There’s only so much we can get from a shoot-’em-up. Within the context of the games themselves, however, the cinematic qualities work. So perhaps that’s where they belong.

Now, if you’ll excuse me, I have to check my officers’ progress in Star Trek Online. Exit, pursued by a joystick.