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thor , you really should have BLOW-UP. great jazz score by HERBIE HANCOCK and features THE YARDBIRDS. i also like his film THE PASSENGER with JACK NICHOLSON !
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In "Identification Of A Woman" (1982) there are some music by Tangerine Dream, according to IMDB the music is from the albums Ricochet and Tangram.
I don't think TD wrote any original music for the film though.
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I kind of understand Ron's criticisms of Antonioni and Kubrick. Yes, on the one hand it's strange and alienating how the music in BLOW UP is used, almost the antithesis of the traditional use of music in film. And there was a really interesting piece in FSM a while back about how, in a weird way, Kubrick's choices of music for 2001 made the film all the more special and original. I'm also reminded of how Bertolucci "fragmented" the Gato Barbieri/Oliver Nelson score, having it surge up and disappear in the middle of scenes for no apparent reason, thus creating a hypnotic sense of anti-Hollywood irreality/reality.
MAYBE - either that or it's just butchering by pseudo-intellectuals who don't know schidt about how to use music in films.
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Sorry, forgot to mention the name of the Berolucci film - it was LAST TANGO IN PARIS of course.
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Sorry, forgot to mention the name of the Berolucci film - it was LAST TANGO IN PARIS of course.
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Posted: |
Jan 24, 2005 - 1:55 PM
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By: |
Heath
(Member)
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I'm also reminded of how Bertolucci "fragmented" the Gato Barbieri/Oliver Nelson score, having it surge up and disappear in the middle of scenes for no apparent reason, thus creating a hypnotic sense of anti-Hollywood irreality/reality.
MAYBE - either that or it's just butchering by pseudo-intellectuals who don't know schidt about how to use music in films.
No, Graham, they knew what they were doing. If you think Bertolucci was extreme, you should check out some of Goddard's films from the same period. He didn't just fade out a cue, he hard-cut it right in the middle of a scene. Bang. The effect, with repetition throughout a given film, was startling, subversive, and actually very funny. Deliberately so.
I think that if such choices are made with respect to the composer, even in consort with him or her, then it's certainly another legitimate and rewarding aspect of film scoring. The Kubrick/North/2001 scenario is a different matter, and an object lesson on how NOT to do it. I think even Goddard would agree with that.
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I'm sure you're right, Heath, about Antonioni/Godard/Bertolucci knowing what they were doing with music, it's just that they never always transmitted it to me. I suppose that's because their intentions were never in line with the standard intentions of a film score. Far be it for them to use the hackneyed old devices for making action more exciting, a love affair more romantic, or horror more horrifying!
The equivalent might be when an Artist takes snapshot photos, but deliberately leaves the heads out of frame at the top. Some of us idiots might not see the point he was trying to make!
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Thor
Check out the CAM website, they have a CD containing 4 Fusco scores for Antonioni, (including DESERTO ROSSO and L'AVVENTURA), you should really have this CD if you plan to talk about music from his films.
The link :http://www.camoriginalsoundtracks.com/default.asp?idmenu=1&path=cd&idcd=218
I have an earlier version of the CD in the CAM Original Soundtrack series issued in the early 90's. The music is quite varied ranging from orchestral to pop/jazz. Well worth having, although in my opinion not up to other Italian composers of the period.
Cheers Dave
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Posted: |
Mar 2, 2005 - 1:34 PM
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By: |
OnyaBirri
(Member)
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I recently watched “Blow Up” (on DVD) for the first time in several years, although I’d been listening to the soundtrack CD more recently. I noticed that in the opening titles, after the “beat group” version of the theme, the music segues into a jazz section completely different from what’s on the LP and CD. I don’t know if this is an entirely different take, or if it’s a section of music that occurs on the master tapes after the LP/CD version fades out. Interestingly, when you watch the DVD with the “music only” option, it plays the edit that you hear on the LP/CD.
The liner notes on the Rhino soundtrack CD don’t go into details about whether there were separate recording sessions for the film or album versions of the soundtrack, and frankly I haven’t spent any time (since getting the DVD) comparing the two for differences.
This issue with the opening theme makes me wonder if there are longer versions of these titles on the master tapes that have never left the vaults.
Does anyone know any details about this?
As a side note, I have always loved the “Blow Up” theme but found the album version too short. There is an excellent, long, hypnotic version of the theme by vibraphonist Bobby Hutcherson, featuring Herbie on piano, that was recorded shortly after the film and which remained unreleased until the 1990s. It is available on the Blue Note compilation “Blue Movies,” (recommended) as well as a Hutcherson album (whose title escapes me).
Later I will share my observations about Antonioni’s use of music (and sounds) in the film…
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