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In Reply to: Re: Leos Janácek posted by ephemere on April 05, 2004 at 14:46:02:
I haven't seen the Lighness in years, so I couldn't comment on your benchmark, but a couple of comments on others. Regarding Barry Lyndon... what else would you expect in a movie like this if not "period" music? And surely Schubert hardly could be considered "period". I didn't feel it was self-conscious, it fit naturally. I think it is not the type of music that is usually important, but its fit.How do you see All the Mornings in the World and ITS music in that context?
And furthermore, was the use of Mozart in Amadeus also something you would not consider the most proper? Or in the two above cases only the period music was appropriate?
Follow Ups:
I think this got twisted around. Let me clarify...When I said that TULoB and HGG are my benchmarks for effective use of classical music in movies, I wasn't counting movies that are themselves about classical music, such as the two you mentioned. This is not a criticism of such movies. On the contrary, the music in All the Mornings in the World and Amadeus is wonderful, and is about as organically integrated into the films as you can get.
But in my opinion it's much harder for movies to make use of classical music simply in the role of a soundtrack. At one extreme, there are innumerable egregious examples that sound like the producers simply couldn't spring for an original score and slapped in some classical music as a quick fix. At the other extreme, TULoB and HGG are my benchmarks of total success. Those movies use classical music almost exclusively throughout, with great attention to detail and without any real flaws or awkward or self-conscious moments, in my opinion. Both movies would be significantly weaker without the scoring.
As for Barry Lyndon, I think that you interpreted my post as criticism. I do think it is an excellent example of classical music in a movie, and my attempts to explain briefly why it is not my absolute benchmark should not be mistaken as a blunt slam. To answer your question 'what else would you expect in a movie like this if not "period" music?' , the answer is: an original score. TULoB and HGG could have used original scores, also, but it would have been even harder than BL to match what they already achieve with Janáček and Copland, respectively.
That makes more sense now. I had strong agreement with you regarding the Platoon. Amazingly though, a similar music used to great effect in Gallipoli did not rub me the wrong way - I am talking of course about the use of the two famous adagios in those two films - Barmer in the Platoon and Ablinoni in Gallipoli. Is it simply the fact that the Gallipoli was first, or rather the difference is in the quality of the overall work? I do consider the Platoon a very weak film, a speculation and opportunistic piece, really, and the Gallipoli, while not a breakthrough film, an honest and touching, even if naively, quiet masterpiece.
I have not seen Gallipoli. Thanks for the reference.
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