Talking Movies

July 4, 2019

5 Works of Americana

For the day that’s in it here’re five pieces of 20th Century American music to score the 4th of July from sunrise to midnight. Shake off your drowsiness with the tremulous clarinet glissando of Gershwin, roll up your shirtsleeves with the frontier rambunctiousness of Copland, go for lunch (will you just go to lunch, George!) with the bustle of Bernstein, greet the evening with the alternating amplitude and frenzy of Gershwin (again), and then hit the energetic streets after dusk with the chromatic, romantic but nervy energy of John Adams.

Rhapsody in Blue by George Gershwin

Rodeo by Aaron Copland

Candide Overture by Leonard Bernstein

Piano Concerto in F by George Gershwin

City Noir by John Adams

 

Advertisements

May 1, 2018

From the Archives: Sweeney Todd

A deep dive into the pre-Talking Movies archives dredges up an unpleasant encounter with my cinematic bête noire, Tim Burton.

Sweeney Todd showcases a match truly made in hell. No, I’m not referring to the serial killer combo of demon barber Todd and cannibal baker Mrs Lovett, but to the pairing of composer Stephen Sondheim and director Tim Burton.

Stephen Sondheim cannot write music, he is a lyricist. Tim Burton cannot direct films, he is a production designer. Both men have deluded themselves into thinking they can do something they really can’t. Burton can make a film look great but he can’t tell a story or make it look real to save his life while West Side Story lyricist Sondheim won’t admit that his work is better when paired with a melodic composer like Leonard Bernstein. Vaughan Williams said the sure sign that a composer had no confidence in their basic material was that it would be over-orchestrated. The deafening organ chords that play over the truly disgusting opening titles betray that very insecurity as well as establishing the queasy universe of gore that Burton wishes us to live in for the next 2 hours.

The real shock is that what follows these credits is a CGI London created with special effects infinitely worse than 2001’s Moulin Rouge! How’s that for progress. The acting is uniformly awful, Alan Rickman deserves special mention as he is practically enacting his Dead Ringers parody. Johnny Depp, needless to say, cannot sing. But then of course Sondheim is the one musicals composer for whom that really doesn’t matter that much. Even his best song ‘Send in the Clowns’ can be croaked by anyone with a feel for phrasing as Judi Dench wonderfully proved on the West End.

Tim Burton has long confused darkness both visual and thematic with quality. Here there is a startling moment, as Burton and Bonham Carter turn a corner into a particularly sepulchral open street, when you realise that this film might as well be in black and white. Tim Burton has, and always had had, a positive fascination with evil. He delights in a story that pits villain against villain and the few heroic characters in this film (Jamie Campbell Bower, Jayne Wisener) are shoved off the stage quickly whenever they appear and, characteristically, the finale leaves their storyline hanging as Burton quite simply does not care.

1/5

Create a free website or blog at WordPress.com.