Tuesday, April 16, 2013
Moved
Just wanting to notify anyone who may still be reading this particular blog, I've moved my blog to WordPress: http://onetoomanymorningsblog.wordpress.com/. It's still under the same name and you can find older entries there as well.
Monday, July 16, 2012
Germany, Year Zero: A Look at Post-WWII Germany
Few filmmakers have taken on the task of telling the stories of what the German people went through right after World War II. It's true that it's easy to look at the enemy and dehumanize him and not desire to empathize with him. After all, dehumanizing the people who almost took over the world and would have taken one's freedom makes it easier on others. It's much easier to hate rather than try to understand. Roberto Rossellini dared to take on the dubious task and succeeded with his Germany, Year Zero, the last film of his war trilogy (which includes Rome, Open City). As with most Italian Neorealist filmmakers of the time, Rossellini employed mostly amateur actors and filmed on location for the 1948 film. The first half of the movie actually has more of a newsreel, documentary look to it, with its long takes of war-ravaged Berlin.
The story focuses on an impoverished German family, the Kohlers, struggling to make ends meet in an apartment home owned by another better-off family, the Rademachers. There's the bedridden father, who persists that his eldest son, Karl-Heinz, register with the authorities after having fought in the German military to the end in order for him to get his food ration card. Karl-Heinz does not want to give himself up, as he feels he would have to, and his sister, Eva, is pressured by her friend to prostitute herself to men, which she refuses to do and instead only seeks the company of men to get cigarettes. Then there's Edmund, the main protagonist, who is the youngest and a twelve-year-old boy trying to find work, despite his age. The stress and constant struggling leads Edmund onto a dangerous path, forcing him to try to deal in the black market. He comes across his former schoolteacher, who seems to have pedophilic tendencies and is not so innocently interested in his former pupil. This strange and deceiving schoolteacher remains loyal to the Nazi party, and he is in possession of a record with a speech by Hitler, which he gives to the young boy so that he can try to sell it to American soldiers. When Edmund succeeds, he gives the money to the former schoolteacher, who gives Edmund a small cut of the profit. Edmund then spends a day and a night with a teenage boy and girl who have experience swindling people out of money.
Edmund's father insists that the family would be better off without him, as he thinks of himself as a weighing burden that holds his children back. He is often heard saying how much better it would be if he would just die. His children would rather not hear such talk, but it eventually affects Edmund, pushing him to make a grave mistake....
All in all, the film is a bleak, depressing look at the lives of people devastated by war and poverty. Although Rossellini himself would hold that the last installment of his war trilogy was an objective depiction of the German people, the film clearly paints a picture of sympathy and compassion. Germany is seen in a different light, which no other filmmaker dared to confront us with at the time, and there is still some difficulty in the present day to confront the world with it. It also depicts guilt and its destructive, dooming nature; its ability to condemn the individual suffering from it more than any outsider could. And perhaps the boy, with all his anguish and self-condemnation, represents an entire nation suffering from anguish and self-condemnation. The title of the film underlines the very turmoil a nation right out of a war was dealing with and its struggle to rebuild and rehabilitate. After the war, Germany was to start from scratch.
Rating: 4/5 stars
The story focuses on an impoverished German family, the Kohlers, struggling to make ends meet in an apartment home owned by another better-off family, the Rademachers. There's the bedridden father, who persists that his eldest son, Karl-Heinz, register with the authorities after having fought in the German military to the end in order for him to get his food ration card. Karl-Heinz does not want to give himself up, as he feels he would have to, and his sister, Eva, is pressured by her friend to prostitute herself to men, which she refuses to do and instead only seeks the company of men to get cigarettes. Then there's Edmund, the main protagonist, who is the youngest and a twelve-year-old boy trying to find work, despite his age. The stress and constant struggling leads Edmund onto a dangerous path, forcing him to try to deal in the black market. He comes across his former schoolteacher, who seems to have pedophilic tendencies and is not so innocently interested in his former pupil. This strange and deceiving schoolteacher remains loyal to the Nazi party, and he is in possession of a record with a speech by Hitler, which he gives to the young boy so that he can try to sell it to American soldiers. When Edmund succeeds, he gives the money to the former schoolteacher, who gives Edmund a small cut of the profit. Edmund then spends a day and a night with a teenage boy and girl who have experience swindling people out of money.
Edmund's father insists that the family would be better off without him, as he thinks of himself as a weighing burden that holds his children back. He is often heard saying how much better it would be if he would just die. His children would rather not hear such talk, but it eventually affects Edmund, pushing him to make a grave mistake....
All in all, the film is a bleak, depressing look at the lives of people devastated by war and poverty. Although Rossellini himself would hold that the last installment of his war trilogy was an objective depiction of the German people, the film clearly paints a picture of sympathy and compassion. Germany is seen in a different light, which no other filmmaker dared to confront us with at the time, and there is still some difficulty in the present day to confront the world with it. It also depicts guilt and its destructive, dooming nature; its ability to condemn the individual suffering from it more than any outsider could. And perhaps the boy, with all his anguish and self-condemnation, represents an entire nation suffering from anguish and self-condemnation. The title of the film underlines the very turmoil a nation right out of a war was dealing with and its struggle to rebuild and rehabilitate. After the war, Germany was to start from scratch.
Rating: 4/5 stars
Friday, July 6, 2012
Top 10 Female Vocalists, Part I
A while back I posted a list of top 10 male vocalists in two parts, but I never did get around to making a top 10 female vocalists list. I figured that it's about time. And just like last time, they are in no particular order.
1) Marianne Faithfull
It's safe to say that Ms. Faithfull hasn't gotten the credit she truly deserves, despite her distinct and incredible voice. She's often been overshadowed by her (in)famous escapades with her equally (in)famous ex-boyfriend, Mick Jagger. Apart from that, her voice is also not considered to be very conventional or even "pretty," for lack of a better word. Although there was a time when her voice was that of an innocent, fragile lark in her younger years when she first began her career as a pop singer, it was greatly altered due to drugs, laryngitis, and smoking. No more was the soprano, bell-like voice; it had been replaced by a gravelly, lower-pitched alto. Her vibrato, not as bright, had become almost crone-like. Her voice, overall, became much more expressive and distinct. And I much prefer it that way.
2) PJ Harvey
One of the most admirable traits about Polly Jean Harvey is her ability to evolve and experiment. Not since her second album have two of her albums been alike. Although she naturally has a bluesy alto voice, she plays with it to achieve specific results. In her latest albums, she's made a dramatic change to her voice by raising its register and giving it a more straightforward feminine, vulnerable sound. Although I prefer her earlier sound, her newer sound has character and surprises the listener with her broad range and evolution. Harvey has often been compared to Patti Smith, but I feel her vocals are much more subtle than that.
3) Billie Holiday
Billie Holiday and Marianne Faithfull, although from different eras and different genres, have some things in common. Both had/have gone through a lot in their lives, and as a result, their vocals had/have suffered. Billie Holiday's whiskey-soaked croak was a result of years of heroin addiction and hardships, and Faithfull's isn't all that different. The illustrious Lady Day once described her voice as a sort of trumpet in her younger days, which was an apt comparison. As the years progressed and her real-life blues overtook her life, however, it became like thick honey or butterscotch with a heavy dose of melancholy and some subtle coolness.
4) Kate Bush
She has a four-octave range and a unique, idiosyncratic style. Need I say more? Turthfully, her strange soprano vocals should annoy me or not please me a whole lot, but they work. They work very well.
5) Liz Fraser
The singer from the Cocteau Twins is intriguing for a few reasons. For one, her voice is pretty idiosyncratic and you often don't understand what she's singing exactly. Then there's her range. She's exactly what a siren would sound like. She's known for her mouth music, which means it doesn't really matter what she's saying in her songs; it's more about the feeling the sounds and enunciation convey. And Massive Attack's "Teardrop" would be so different without her.
1) Marianne Faithfull
It's safe to say that Ms. Faithfull hasn't gotten the credit she truly deserves, despite her distinct and incredible voice. She's often been overshadowed by her (in)famous escapades with her equally (in)famous ex-boyfriend, Mick Jagger. Apart from that, her voice is also not considered to be very conventional or even "pretty," for lack of a better word. Although there was a time when her voice was that of an innocent, fragile lark in her younger years when she first began her career as a pop singer, it was greatly altered due to drugs, laryngitis, and smoking. No more was the soprano, bell-like voice; it had been replaced by a gravelly, lower-pitched alto. Her vibrato, not as bright, had become almost crone-like. Her voice, overall, became much more expressive and distinct. And I much prefer it that way.
2) PJ Harvey
One of the most admirable traits about Polly Jean Harvey is her ability to evolve and experiment. Not since her second album have two of her albums been alike. Although she naturally has a bluesy alto voice, she plays with it to achieve specific results. In her latest albums, she's made a dramatic change to her voice by raising its register and giving it a more straightforward feminine, vulnerable sound. Although I prefer her earlier sound, her newer sound has character and surprises the listener with her broad range and evolution. Harvey has often been compared to Patti Smith, but I feel her vocals are much more subtle than that.
3) Billie Holiday
Billie Holiday and Marianne Faithfull, although from different eras and different genres, have some things in common. Both had/have gone through a lot in their lives, and as a result, their vocals had/have suffered. Billie Holiday's whiskey-soaked croak was a result of years of heroin addiction and hardships, and Faithfull's isn't all that different. The illustrious Lady Day once described her voice as a sort of trumpet in her younger days, which was an apt comparison. As the years progressed and her real-life blues overtook her life, however, it became like thick honey or butterscotch with a heavy dose of melancholy and some subtle coolness.
4) Kate Bush
She has a four-octave range and a unique, idiosyncratic style. Need I say more? Turthfully, her strange soprano vocals should annoy me or not please me a whole lot, but they work. They work very well.
5) Liz Fraser
The singer from the Cocteau Twins is intriguing for a few reasons. For one, her voice is pretty idiosyncratic and you often don't understand what she's singing exactly. Then there's her range. She's exactly what a siren would sound like. She's known for her mouth music, which means it doesn't really matter what she's saying in her songs; it's more about the feeling the sounds and enunciation convey. And Massive Attack's "Teardrop" would be so different without her.
Wednesday, April 4, 2012
People Who Matter: Lee Miller
So I've decided to start posting a monthly, or perhaps a bi-weekly, post having to do with an iconic person I admire. Some of these people may be musicians, artists, style icons, writers, filmmakers, or even miscellaneous people who can fall into all of those categories, or none of them. They may be people you know about very well, or people you've never heard of. The point is these posts will be about people who matter.
This week's/month's (I can't decide which) icon is Lee Miller. Lee Miller happens to be one of my favorite photographers, but unfortunately not many people know her work or who she is. I feel like she's often been overshadowed by the men in her life, especially Man Ray, whom she worked with during the height of the Surrealist movement. She led an interesting life, not just because of the people she surrounded herself with, but also because of the amazing things she was able to accomplish as an artist and as a woman. She was a beautiful woman with an incredible talent and an intelligence perhaps not often found in women of her era. She was a model, a muse, and an artist.
This week's/month's (I can't decide which) icon is Lee Miller. Lee Miller happens to be one of my favorite photographers, but unfortunately not many people know her work or who she is. I feel like she's often been overshadowed by the men in her life, especially Man Ray, whom she worked with during the height of the Surrealist movement. She led an interesting life, not just because of the people she surrounded herself with, but also because of the amazing things she was able to accomplish as an artist and as a woman. She was a beautiful woman with an incredible talent and an intelligence perhaps not often found in women of her era. She was a model, a muse, and an artist.
Elizabeth "Lee" Miller was born in Poughkeepsie, New York in 1907. Before she became known for her photography, she was known as a stunning model, and she began her modeling in front of her father's camera. While modeling for her father's artistic endeavors, she was also taught the technical aspects of photography by him. She was discovered by Vogue's founder on the streets of Manhattan in 1927, and soon became a sought-after fashion model. Her fashion modeling career didn't last very long, as it was ended after a scandalous advertisement for Kotex pads was printed with a picture of her. However, in 1929, she became interested in Surrealism and moved to Paris to seek out Man Ray in order to become his apprentice. She became his assistant, although at first he didn't wish to take any sort of apprentice, and soon they became lovers. Miller was a muse to Man Ray, and to other Surrealists as well. In 1930, she appeared in Jean Cocteau's The Blood of a Poet as a living statue. While working with Man Ray, she established her own studio. It is also said that many of the photographs credited to Man Ray during the late 1920s were actually taken by her. Together, the couple perfected the solarization technique, which Miller came across accidentally one day while in the darkroom. During this era, she became friends with several artists and she became known for her portraits of her social circle. And in 1932, she moved back to New York and opened her own studio there.
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| Self-portrait, 1932 |
Although she liked to do some commercial and fashion photography, her talent flourished when it came to surrealist images and portraits. Many of her portraits are now considered to be some of the best photographs taken of the subjects, including those of Picasso and Man Ray. She also photographed the likes of Fred Astaire, T.S. Elliot, and Charlie Chaplin.
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| Charlie Chaplin, c. 1930 |
In the 1930s, she traveled to Egypt, Greece, and Romania, where she photographed breathtaking landscapes and images of everyday people. Then came WWII, when in 1942, she became a war correspondent for Vogue accredited to the US Army, and it is believed that she might have been one of the only female combat photojournalists covering the war in Europe. Her images of the war are some of the most appealing to me, mainly because they don't appear like typical war images and they are almost presented as very artistic, which indeed they are. One need not look at too many of the photographs to see that she had an eye for composition and truly understood the horror of war being conveyed in her images. Perhaps her understanding went too deeply, as her son, Antony Penrose (from her second marriage to the artist and art collector, Roland Penrose), has mentioned her growing depression as she aged being somewhat connected to the horrors she witnessed.
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| David E. Scherman, 1943 |
Ms. Miller passed away in 1977 from cancer at the age of 70. Her legacy has been kept alive mainly due to the strong efforts of her son, Antony. I recommend searching for her work and much of it can be viewed on the website created by her son: http://www.leemiller.co.uk/. Her son also wrote a biography of her called The Lives of Lee Miller, which I've not yet read. I have, however, read Lee Miller: a Life by Carolyn Burke, which I also recommend. Lee Miller's life and work cannot be forgotten, and I feel as though not enough respect and admiration have been given her, mostly because many people don't know who she was. Her striking black and white images can pull anyone in, as can her fascinating and adventurous life. When looking at her photographs, one can't help but feel like one is right there with her, standing in a desert of Egypt, or looking into the eyes of Picasso, experiencing her life.
Friday, March 30, 2012
Thursday, March 29, 2012
Fists in the Pocket: A Lost Italian Post-Neorealist Gem
It's sometimes uncommon for a person to be truly blown away by a film, especially now in the 21st century. The old adage "they just don't make them like they used to" may be a cliche, but it's hard to argue that it doesn't apply to the state of contemporary film. Often disappointment and ennui make film lovers turn to the past, or to foreign cinema. How certain old movies can grip the viewer and mystify, even stun the viewer, more than some current movies is still something that somewhat puzzles me. You have to wonder how it's possible that someone back in the 1950s could be way ahead of their time and yet someone in the early 2000s seems to have retrograded somehow, or remained stagnant (which can be worse sometimes). But I digress. Sometimes you find a hidden gem, and this time I found one in my film class.
Fists in the Pocket (I Pugni in Tasca in its native language) was made in 1965 by a young Italian director named Marco Bellocchio. Bellocchio isn't very well known outside of Italy; at least not in the sense Fellini or Rossellini, or even Pasolino (a contemporary of his), are. In making his first movie, he acquired money from different relatives to film it. Much of the film takes place in the summer house of a relative of Bellocchio, which is interesting, considering the film primarily challenges family values and filial piety. When the film first premiered, it was condemned by the Catholic Church for its irreverent approach. Although several films about dysfunctional families have been made since then, Fists in the Pocket still stands as one of the best about the subject and it is safe to say that it has withstood the test of time, as it will continue to do so. The story could be considered depressing, dark, and maybe even revolting, but it does display glimmers of black humor, which can be rather severe. There is no movie trailer on youtube, but there is one on the Criterion website through the following link: Criterion collection movie trailer. For those of you who are Spaghetti western and Morricone fans, this was the first film for which Ennio Morricone composed the score.
The story mainly centers around Alessandro (affectionately called Ale by his family), who is played by Lou Castel, a Colombian-born actor whose first major role was in this film. Alessandro is epileptic, something he feels is a burden to other people. The other two central characters are Giulia, his sister whom he has incestuous feelings for, and Augusto, the eldest brother. Their mother is blind and their younger brother is mentally challenged, and both need constant care. Ale realizes that the whole family is a hindrance and weary load to Augusto, who acts as the head of the household and a father figure. Augusto could do so much more with his life, Ale argues, if he were to be rid of them all. Ale then goes about trying to solve this problem, through very questionable and unethical means. I'm afraid I can't say any more about it because it'll reveal all the shocking and gripping qualities of the film. What I can say is that I highly recommend Fists in the Pocket, especially if you're in the mood for some intensity, compelling black and white cinematography, and absorbing acting by some great amateurs (and I don't intend this in any derogatory way). As luck would have it, the movie is on youtube in its entirety: Fists in the Pocket (1965). Sorry, I couldn't seem to embed it in my blog, so there's the link. Make sure to click on the "cc" button to view the English subtitles, unless you're completely comfortable with your Italian.
Rating: 4.5/5
Fists in the Pocket (I Pugni in Tasca in its native language) was made in 1965 by a young Italian director named Marco Bellocchio. Bellocchio isn't very well known outside of Italy; at least not in the sense Fellini or Rossellini, or even Pasolino (a contemporary of his), are. In making his first movie, he acquired money from different relatives to film it. Much of the film takes place in the summer house of a relative of Bellocchio, which is interesting, considering the film primarily challenges family values and filial piety. When the film first premiered, it was condemned by the Catholic Church for its irreverent approach. Although several films about dysfunctional families have been made since then, Fists in the Pocket still stands as one of the best about the subject and it is safe to say that it has withstood the test of time, as it will continue to do so. The story could be considered depressing, dark, and maybe even revolting, but it does display glimmers of black humor, which can be rather severe. There is no movie trailer on youtube, but there is one on the Criterion website through the following link: Criterion collection movie trailer. For those of you who are Spaghetti western and Morricone fans, this was the first film for which Ennio Morricone composed the score.
The story mainly centers around Alessandro (affectionately called Ale by his family), who is played by Lou Castel, a Colombian-born actor whose first major role was in this film. Alessandro is epileptic, something he feels is a burden to other people. The other two central characters are Giulia, his sister whom he has incestuous feelings for, and Augusto, the eldest brother. Their mother is blind and their younger brother is mentally challenged, and both need constant care. Ale realizes that the whole family is a hindrance and weary load to Augusto, who acts as the head of the household and a father figure. Augusto could do so much more with his life, Ale argues, if he were to be rid of them all. Ale then goes about trying to solve this problem, through very questionable and unethical means. I'm afraid I can't say any more about it because it'll reveal all the shocking and gripping qualities of the film. What I can say is that I highly recommend Fists in the Pocket, especially if you're in the mood for some intensity, compelling black and white cinematography, and absorbing acting by some great amateurs (and I don't intend this in any derogatory way). As luck would have it, the movie is on youtube in its entirety: Fists in the Pocket (1965). Sorry, I couldn't seem to embed it in my blog, so there's the link. Make sure to click on the "cc" button to view the English subtitles, unless you're completely comfortable with your Italian.
Rating: 4.5/5
Saturday, February 18, 2012
Joy Division: The Rise of the Manchester Scene
Very few bands have an effect on several generations like Joy Division has had. Apart from the Velvet Underground and the Clash, no other band has become so important, so crucial, so RELEVANT, like the industrial post-punk quartet from post-modern, post-industrial Manchester. By the time their second album had been released, Joy Division was the most meaningful and significant band in Manchester. And Ian Curtis, the band's lead singer, had already committed suicide. They have become even more important contemporaneously, with "Love Will Tear Us Apart" being hailed by Kurt Cobain as the greatest song ever recorded, and young people revisiting their work. Of course, some of that posthumous success is partly due to the legend that has evolved surrounding the band, and most importantly, the band's lead singer and lyricist. Two parts talent, one part legend, the story of Joy Division's rise and fall has intrigued fans and musicians alike. It makes for a pretty good movie, or shall I say two. Back in 2007, two movies were filmed about Joy Division, one being the drama, Control, and the other being the documentary called Joy Division.
Directed by Grant Gee, director of the Radiohead documentary, Meeting People is Easy, and of several music videos, this particular documentary focuses on the start of Joy Division, its short-lived success, its demise, and the undeniable influence the ruined landscape of Manchester had on the music and the musicians' lives. With interviews of all the band members (excluding Curtis), Tony Wilson (founder of Factory Records), Ian Curtis's mistress, and several people who ran with their crowd, the film takes on an engrossing and subtly powerful tone. As the likes of Bernard Sumner and Peter Hook recount their stories and experiences, the viewer realizes that he/she is stepping into very personal territory, darkly personal. Of course, it's not all doom and gloom, as one might expect from a band like Joy Division. It's interesting to listen to the band members and Tony Wilson relate their humorous moments with Curtis, and about their road to recognition. The documentary has moments of reflection, as well as moments of good humor.
The film is quite a boon, filled with TV clips and fascinating insights, not to mention an amazing soundtrack to boot. My one quip with it is the fact that Deborah Curtis, Curtis's wife, does not make an appearance. Quotes from her 1995 memoir, Touching from a Distance, are seen throughout the film, but it would've been nice to hear them come from her mouth. Upon further research, I learned that she actually opted to stay out of the film, as she had been overseeing on the set of Control at the time and, I imagine, it had emotionally fatigued her. I also think it would've been interesting to have elaborated on Martin Hannett's engineering/production methods while in the studio with the band, as he is partly responsible for Joy Division's sound (one would even say "mostly responsible" concerning their studio recordings). The recording sessions themselves have become the stuff of legend.
If you consider yourself a fan of Joy Division and the post-punk era, or a fan of music in general, this particular documentary is a must-see. Being as how they were an important band which paved the way for the Madchester scene and many contemporary rock/indie acts, and considering their influence and legendary status, you owe it to yourself to watch it. Also recommended are Control and 24 Hour Party People, the latter focusing on Tony Wilson and his Factory Records label.
Star rating: 4/5
Directed by Grant Gee, director of the Radiohead documentary, Meeting People is Easy, and of several music videos, this particular documentary focuses on the start of Joy Division, its short-lived success, its demise, and the undeniable influence the ruined landscape of Manchester had on the music and the musicians' lives. With interviews of all the band members (excluding Curtis), Tony Wilson (founder of Factory Records), Ian Curtis's mistress, and several people who ran with their crowd, the film takes on an engrossing and subtly powerful tone. As the likes of Bernard Sumner and Peter Hook recount their stories and experiences, the viewer realizes that he/she is stepping into very personal territory, darkly personal. Of course, it's not all doom and gloom, as one might expect from a band like Joy Division. It's interesting to listen to the band members and Tony Wilson relate their humorous moments with Curtis, and about their road to recognition. The documentary has moments of reflection, as well as moments of good humor.
The film is quite a boon, filled with TV clips and fascinating insights, not to mention an amazing soundtrack to boot. My one quip with it is the fact that Deborah Curtis, Curtis's wife, does not make an appearance. Quotes from her 1995 memoir, Touching from a Distance, are seen throughout the film, but it would've been nice to hear them come from her mouth. Upon further research, I learned that she actually opted to stay out of the film, as she had been overseeing on the set of Control at the time and, I imagine, it had emotionally fatigued her. I also think it would've been interesting to have elaborated on Martin Hannett's engineering/production methods while in the studio with the band, as he is partly responsible for Joy Division's sound (one would even say "mostly responsible" concerning their studio recordings). The recording sessions themselves have become the stuff of legend.
If you consider yourself a fan of Joy Division and the post-punk era, or a fan of music in general, this particular documentary is a must-see. Being as how they were an important band which paved the way for the Madchester scene and many contemporary rock/indie acts, and considering their influence and legendary status, you owe it to yourself to watch it. Also recommended are Control and 24 Hour Party People, the latter focusing on Tony Wilson and his Factory Records label.
Star rating: 4/5
Saturday, February 4, 2012
A Method to the Madness: The Music of Phil Spector
As an aspiring filmmaker and musician, and as somewhat of a writer and creator, I tend to admire directors more than actors, songwriters more than singers, and music producers more than performers. After all, who are the real geniuses in those relationships? I know people could easily argue with me about that, and even I sometimes switch back and forth concerning this, but one can't deny that the Beatles would not have been as big as they were if it were not for George Martin. What would Nancy Sinatra be if it weren't for Lee Hazlewood? And let's face it, Hitchcock might've been a real dick to his actors (I believe he referred to them as "cattle"), but Vertigo would not have been the same without him, even if Jimmy Stewart and Kim Novak had still participated.
That being said, I do believe that sometimes one must separate the art from the artist. We all know Van Gogh was a little nuts, but his art remains important and inspiring, and most importantly, one must allow it to stand on its own. It's true that he threatened Paul Gauguin with a razor blade, but one has to forget that when admiring his works of art, because really who cares about the other thing? I know it's sometimes difficult to make this separation, to make a distinction between the creator's character and his creations, I'm completely aware. But sometimes, just sometimes, the creation itself is so beautiful and incredibly awe-inspiring that one is forced to forget about the person(s) behind it. This can be said about Phil Spector. Now regardless of what you may think of the guy, you have to admit...the guy was kind of a musical genius. This is why I am going to focus on his best songs, most notably the ones using his famous, revolutionary Wall of Sound technique.
That being said, I do believe that sometimes one must separate the art from the artist. We all know Van Gogh was a little nuts, but his art remains important and inspiring, and most importantly, one must allow it to stand on its own. It's true that he threatened Paul Gauguin with a razor blade, but one has to forget that when admiring his works of art, because really who cares about the other thing? I know it's sometimes difficult to make this separation, to make a distinction between the creator's character and his creations, I'm completely aware. But sometimes, just sometimes, the creation itself is so beautiful and incredibly awe-inspiring that one is forced to forget about the person(s) behind it. This can be said about Phil Spector. Now regardless of what you may think of the guy, you have to admit...the guy was kind of a musical genius. This is why I am going to focus on his best songs, most notably the ones using his famous, revolutionary Wall of Sound technique.
Understandably, I know many people don't agree with his "back to mono" philosophy. The human ear hears things in stereo, and yet Spector has shot down multi-channels many a time. One has to understand that back in the late 50s and early 60s, mono recordings reproduced very well on AM radio, something stereo recordings just couldn't do yet. And although some may find Spector's productions a bit overly-produced, I can't help but fall in love with the lush sounds of hits like "Be My Baby" and "You've Lost That Lovin' Feelin.'" For those of you who don't quite understand the said Wall of Sound technique, let me summarize it in the simplest way I can: The "Wall of Sound" is when many instruments are layered to create the illusion of there being a lot more instruments than there actually are. There is lots of reverb and the layers are very dense and rich. An echo chamber is most certainly utilized and musicians play the same parts in unison. To be exact, several guitarists will perform the same part simultaneously, and then the part will be layered on top of the same part a few times. Orchestral instruments are often used, such as strings and percussion not usually found in typical pop/rock recordings of the time. So in short, dense layers, lots of echo, and large ensembles of musicians. Many artists have tried to replicate this technique in their own recordings, including Brian Wilson of the Beach Boys, who is an incredible producer in his own right.
Here are my top 5 Spector-produced singles (the guy loved his singles, he hated albums):
5. John Lennon - "Jealous Guy"
Why out of all the great songs Lennon put out during his decade-long solo career would I include this particular one, you might ask? Because I feel that it represents Spector's later Wall of Sound technique fairly well, and because quite frankly, it's one of John Lennon's better songs. However, it's important to know that there are TWO versions of this song out there. One sounds cleaner, more polished, quieter, and I have to say, it is not my favorite, though it is the one that most people know. I prefer the alternate outtake. There are more layers and it's quintessential Spector, and of course that's the one I've included in this post.
4. Ike and Tina Turner - "River Deep-Mountain High"
Interestingly enough, this single flopped in the US upon its initial release in 1966. It was later re-released and it did considerably better after Eric Burdon and the Animals had covered it. This is also the song that drove Spector up the wall after its initial reception was disappointing and he dropped out of the music business for 2 years, slowly becoming somewhat of a recluse. And could one really blame him? The single cost a little more than $20,000 (which was unheard of back in those days), and it required (or rather, he required) over 20 session musicians and over 20 backing vocalists. Of course this song could never be replicated live in all of its perfection.
3. George Harrison - "What is Life"
The lyrics are so beautifully simple, and the horns make this song. Spector produced Harrison's entire All Things Must Pass album, but it is a bit sad that with the passage of time, Harrison seemed to have somewhat regretted seeking the assistance of Spector for the album. In a statement he made 30 years after the album was released, he is known as having said, "Too much echo." Whether there is too much echo or not in this particular single, it's still an amazing song.
2. The Ronettes - "Be My Baby"
You hear the opening drum beat of this song and you instantly recognize what you're hearing. That same opening drum beat has been used in several other songs in one form or another. It is said that The Beach Boys' "Don't Worry Baby" was inspired by the Ronettes hit, with Brian Wilson going so far as to call it the "male answer" to "Be My Baby."
1. The Righteous Brothers - "You've Lost That Lovin' Feelin'"
Indisputably Phil Spector's masterpiece, this single has become iconic and incredibly influential. With the help of the Wrecking Crew, Spector turned what could've been a good love song into an AMAZING love song. The backing vocals tug at your heart strings, that simple, drawn-out "baby" affects the listener like no other "baby." Bill Medley's baritone is perfect and expressive, and the quasi-gospel bridge with Medley and Hatfield brings the song to a wonderful climax. The tambourine is such a simple instrument, but it CARRIES this song, it almost owns it. And the false ending makes things a bit more interesting. At the time of its release, Spector was pleasantly surprised by its success. He lied about the running time of the track because it was considered too long to become a hit before it was released. This song has had more radio play than any other song, according to several sources, and one need only listen to its sheer beauty to know why.
Honorary mention: The Ronettes - "Sleigh Ride"
Could you really call Christmas Christmas without a little "Sleigh Ride"?
Why out of all the great songs Lennon put out during his decade-long solo career would I include this particular one, you might ask? Because I feel that it represents Spector's later Wall of Sound technique fairly well, and because quite frankly, it's one of John Lennon's better songs. However, it's important to know that there are TWO versions of this song out there. One sounds cleaner, more polished, quieter, and I have to say, it is not my favorite, though it is the one that most people know. I prefer the alternate outtake. There are more layers and it's quintessential Spector, and of course that's the one I've included in this post.
4. Ike and Tina Turner - "River Deep-Mountain High"
Interestingly enough, this single flopped in the US upon its initial release in 1966. It was later re-released and it did considerably better after Eric Burdon and the Animals had covered it. This is also the song that drove Spector up the wall after its initial reception was disappointing and he dropped out of the music business for 2 years, slowly becoming somewhat of a recluse. And could one really blame him? The single cost a little more than $20,000 (which was unheard of back in those days), and it required (or rather, he required) over 20 session musicians and over 20 backing vocalists. Of course this song could never be replicated live in all of its perfection.
3. George Harrison - "What is Life"
The lyrics are so beautifully simple, and the horns make this song. Spector produced Harrison's entire All Things Must Pass album, but it is a bit sad that with the passage of time, Harrison seemed to have somewhat regretted seeking the assistance of Spector for the album. In a statement he made 30 years after the album was released, he is known as having said, "Too much echo." Whether there is too much echo or not in this particular single, it's still an amazing song.
2. The Ronettes - "Be My Baby"
You hear the opening drum beat of this song and you instantly recognize what you're hearing. That same opening drum beat has been used in several other songs in one form or another. It is said that The Beach Boys' "Don't Worry Baby" was inspired by the Ronettes hit, with Brian Wilson going so far as to call it the "male answer" to "Be My Baby."
1. The Righteous Brothers - "You've Lost That Lovin' Feelin'"
Indisputably Phil Spector's masterpiece, this single has become iconic and incredibly influential. With the help of the Wrecking Crew, Spector turned what could've been a good love song into an AMAZING love song. The backing vocals tug at your heart strings, that simple, drawn-out "baby" affects the listener like no other "baby." Bill Medley's baritone is perfect and expressive, and the quasi-gospel bridge with Medley and Hatfield brings the song to a wonderful climax. The tambourine is such a simple instrument, but it CARRIES this song, it almost owns it. And the false ending makes things a bit more interesting. At the time of its release, Spector was pleasantly surprised by its success. He lied about the running time of the track because it was considered too long to become a hit before it was released. This song has had more radio play than any other song, according to several sources, and one need only listen to its sheer beauty to know why.
Honorary mention: The Ronettes - "Sleigh Ride"
Could you really call Christmas Christmas without a little "Sleigh Ride"?
Wednesday, January 25, 2012
The Artist : A Throwback to the Silent Era
I'm aware that it's been quite a while since I've posted something on here, but I managed to break myself out of some of my laziness and procrastination these last few days and I revamped my blog. It has kind of a new look, hopefully not one that's disappointing. With that being said, I can now provide you with another movie review.
I finally went to see The Artist, a film that's been garnering a lot of attention, last Friday. It's interesting that it's a film I became interested in seeing without having viewed the trailer beforehand--although I did see previews for it on TV--and I thought for a second that it might be hyped up. It is a film that has already won so many accolades, however, and so I felt I owed it to myself and to the movie to watch it. It originally sparked my interest because of my love of silent movie era films, especially those of Chaplin. One forgets how incredible it is that silent movie actors could convey so much without the use of their vocal chords. Modern-day people might find some of the acting over-emotive for their taste, and you will find such exaggerated acting within The Artist, but it most definitely worked back in those days. And it most certainly was not just about the acting.
As mentioned before, this film has already won several awards and praises. Such accolades include a Best Actor award at the Cannes Film Festival, a Best Picture Golden Globe, a Best Director award from the Critics' Choice Movie Awards (for Michel Hazanavicius), and a Producer's Guild Award. It also happens to be a top contender for an Oscar. Unfortunately, I have not yet seen all of the films nominated for Best Picture this year, so I can't really determine if this particular film deserves it more or less than the others. I didn't get to see Midnight in Paris, although I really wanted to, and I do feel like Extremely Loud and Incredibly Close hasn't gotten much press. I honestly hope neither Moneyball nor Tree of Life get the Oscar, because to be honest, I'm pretty tired of the assumption that anything Brad Pitt touches is gold. I mean, did anyone see The Curious Case of Benjamin Button? It wasn't horrible, but it was certainly not his best, nor David Fincher's for that matter. But I digress.
I don't want to spend several paragraphs summarizing the plot of The Artist, so I'll keep it short and simple. The story, which reminds me a bit of Singin' in the Rain, takes place during the late 1920s and early 1930s, right around the beginning of the Great Depression, when the silent movie era was reaching its end, with the innovative transition to the talkies taking place. George Valentin (Jean Dujardin) is a beloved silent film star who feels he is on top of the world, until he is faced with the harsh reality of the transitional period Hollywood experiences. He meets Peppy Miller (Berenice Bejo), a young starstruck woman who also happens to be an aspiring actress with big dreams, while signing autographs on the red carpet. They meet time and time again, and they strike up a strange sort of friendship. Peppy becomes George's biggest sympathizer, and also his biggest rival, as she is replacing George Valentin as the biggest fish in the business, though it is not her intention. Al Zimmer, played by John Goodman, the studio boss, goes from being Valentin's biggest fan to someone who sees change coming and feels that his greatest star just won't do anymore. With George Valentin's fear of fading away into nothing more than a has-been, the plot becomes somewhat dark and morose. The young, fresh-faced Peppy Miller seeks to help her one-time mentor and the audience is touched by this woman's desire to care for a man who no longer has faith in the movie industry or himself.
The movie captures the spirit of the time and some might consider it a sort of hybrid of Singin' in the Rain and A Star is Born because of similar storylines. If one recalls, Singin' in the Rain is about a film production company who has a hard time transitioning from silent movies to talkies, with its highest-paying and most famous actress being the main difficulty (lest we forget her annoying voice). Although The Artist is not strictly a musical, one can clearly see Hazanavicius's vision was partly inspired by Gene Kelly's hit. Hazanivicius has stated that his film is a sort of love letter written for Hollywood, especially Hollywood's Golden Age, with the desire to honor and pay homage to the spirit of making movies. It is essentially a film about filmmaking. And it succeeds in its nostalgia-inducing portrayal of the past. It is humorous at times, and thought-provoking at others. Although the film has its dark, almost heart-wrenching moments, it remains somewhat lighthearted throughout most of it. Overall, it is more of a feel-good movie than other Best Picture nominated films this year, but the entertaining and lively feel of it does not detract from its intelligence. It retains its profound and smart message.
So, if you love films and/or are a film major (or always felt you should be), I recommend this flick. It is not the greatest film ever made, but it is good enough to be essential to watch. The acting is excellent, there's no doubt Dujardin and Bejo will become much more well-known to people in this country with their great performances. The musical score is touching and very complementary to the old-time feel of the movie. Although there is no spoken dialogue, sound is introduced at some point and it is even more intensely effective because of the lack of sound throughout the rest of the time. And of course, the cinematography is beautiful and memorable.
Rating: 4/5
I finally went to see The Artist, a film that's been garnering a lot of attention, last Friday. It's interesting that it's a film I became interested in seeing without having viewed the trailer beforehand--although I did see previews for it on TV--and I thought for a second that it might be hyped up. It is a film that has already won so many accolades, however, and so I felt I owed it to myself and to the movie to watch it. It originally sparked my interest because of my love of silent movie era films, especially those of Chaplin. One forgets how incredible it is that silent movie actors could convey so much without the use of their vocal chords. Modern-day people might find some of the acting over-emotive for their taste, and you will find such exaggerated acting within The Artist, but it most definitely worked back in those days. And it most certainly was not just about the acting.
As mentioned before, this film has already won several awards and praises. Such accolades include a Best Actor award at the Cannes Film Festival, a Best Picture Golden Globe, a Best Director award from the Critics' Choice Movie Awards (for Michel Hazanavicius), and a Producer's Guild Award. It also happens to be a top contender for an Oscar. Unfortunately, I have not yet seen all of the films nominated for Best Picture this year, so I can't really determine if this particular film deserves it more or less than the others. I didn't get to see Midnight in Paris, although I really wanted to, and I do feel like Extremely Loud and Incredibly Close hasn't gotten much press. I honestly hope neither Moneyball nor Tree of Life get the Oscar, because to be honest, I'm pretty tired of the assumption that anything Brad Pitt touches is gold. I mean, did anyone see The Curious Case of Benjamin Button? It wasn't horrible, but it was certainly not his best, nor David Fincher's for that matter. But I digress.
I don't want to spend several paragraphs summarizing the plot of The Artist, so I'll keep it short and simple. The story, which reminds me a bit of Singin' in the Rain, takes place during the late 1920s and early 1930s, right around the beginning of the Great Depression, when the silent movie era was reaching its end, with the innovative transition to the talkies taking place. George Valentin (Jean Dujardin) is a beloved silent film star who feels he is on top of the world, until he is faced with the harsh reality of the transitional period Hollywood experiences. He meets Peppy Miller (Berenice Bejo), a young starstruck woman who also happens to be an aspiring actress with big dreams, while signing autographs on the red carpet. They meet time and time again, and they strike up a strange sort of friendship. Peppy becomes George's biggest sympathizer, and also his biggest rival, as she is replacing George Valentin as the biggest fish in the business, though it is not her intention. Al Zimmer, played by John Goodman, the studio boss, goes from being Valentin's biggest fan to someone who sees change coming and feels that his greatest star just won't do anymore. With George Valentin's fear of fading away into nothing more than a has-been, the plot becomes somewhat dark and morose. The young, fresh-faced Peppy Miller seeks to help her one-time mentor and the audience is touched by this woman's desire to care for a man who no longer has faith in the movie industry or himself.
The movie captures the spirit of the time and some might consider it a sort of hybrid of Singin' in the Rain and A Star is Born because of similar storylines. If one recalls, Singin' in the Rain is about a film production company who has a hard time transitioning from silent movies to talkies, with its highest-paying and most famous actress being the main difficulty (lest we forget her annoying voice). Although The Artist is not strictly a musical, one can clearly see Hazanavicius's vision was partly inspired by Gene Kelly's hit. Hazanivicius has stated that his film is a sort of love letter written for Hollywood, especially Hollywood's Golden Age, with the desire to honor and pay homage to the spirit of making movies. It is essentially a film about filmmaking. And it succeeds in its nostalgia-inducing portrayal of the past. It is humorous at times, and thought-provoking at others. Although the film has its dark, almost heart-wrenching moments, it remains somewhat lighthearted throughout most of it. Overall, it is more of a feel-good movie than other Best Picture nominated films this year, but the entertaining and lively feel of it does not detract from its intelligence. It retains its profound and smart message.
So, if you love films and/or are a film major (or always felt you should be), I recommend this flick. It is not the greatest film ever made, but it is good enough to be essential to watch. The acting is excellent, there's no doubt Dujardin and Bejo will become much more well-known to people in this country with their great performances. The musical score is touching and very complementary to the old-time feel of the movie. Although there is no spoken dialogue, sound is introduced at some point and it is even more intensely effective because of the lack of sound throughout the rest of the time. And of course, the cinematography is beautiful and memorable.
Rating: 4/5
Thursday, April 28, 2011
Top 10 male vocalists, part II
Round 2.
6) Jeff Buckley
Why do the good ones always have to die? Either that or they're gay, hehe. Anyway, Jeff Buckley died way too young, and it's really a shame because he was just starting to come into his own with his songwriting right before he passed. To put it simply, he had the voice of an angel. And what an angel! I'm sure he's singing with the choirs of heaven nowadays. : ) Buckley's voice was not a baritone, but it was so full of soul and heartache. His voice makes me weep at times, I have to admit. I dare you to listen to "Lover, You Should've Come Over" and not want to cry. And personally, I think his version of Leonard Cohen's "Hallelujah" trumps Rufus Wainwright's cover. Sigh, I hate Wainwright...
6) Jeff Buckley
Why do the good ones always have to die? Either that or they're gay, hehe. Anyway, Jeff Buckley died way too young, and it's really a shame because he was just starting to come into his own with his songwriting right before he passed. To put it simply, he had the voice of an angel. And what an angel! I'm sure he's singing with the choirs of heaven nowadays. : ) Buckley's voice was not a baritone, but it was so full of soul and heartache. His voice makes me weep at times, I have to admit. I dare you to listen to "Lover, You Should've Come Over" and not want to cry. And personally, I think his version of Leonard Cohen's "Hallelujah" trumps Rufus Wainwright's cover. Sigh, I hate Wainwright...
7) Van Morrison
This guy. Much like Eric Burdon, he's a 40-year-old black man trapped in a white dude's body. Need I say more?
8) Dan Auerbach (the Black Keys)
My hope is that one day, Auerbach's voice will be considered to be almost as great as Burdon's or Morrison's. The bluesy singer for the Black Keys definitely has a voice not common among most indie bands, which is why he stands out in my mind. And if you thought he had a limited range, you're sadly mistaken. Listen to the latest album by the Black Keys and you'll realize he can pull off a falsetto quite nicely.
9) Nick Cave
His voice is very...cavernous. That's one way to put it. He has the voice that can make you piss in your pants if he wanted to scare you so bad. No matter what you may think of his dark, almost dreary music, for he's virtually the Prince of Darkness, you're immediately drawn to his voice. It can be angry, menacing, melancholy, heartbreaking, or rejoicing. He can firmly make you believe that "people ain't no good" as well as the pining present in "Into My Arms." His voice isn't perfect, but as you can tell by now, I like imperfect voices.
10) Thom Yorke (Radiohead)
Alright, before you roll your eyes at this one, take into account that I had a bunch of others in mind. I didn't put them in the #10 slot because of a few factors. If you're looking at (or listening to) Thom Yorke's voice as purely a singing voice, it's pretty interesting. The guy can convey so much with his lazy-sounding, almost sleepy falsetto. The guy is good, real good.
And that's my list. But there are honorable mentions. I guess it really should've been more of a top 20 list. Honorable mentions include:
- Ian Curtis of Joy Division- talk about cavernous vocals
- Marvin Gaye
- Gerry Roslie of the Sonics - that man can scream!
- Jim Morrison
- Neil Hannon of the Divine Comedy
- Bill Callahan a.k.a. Smog
- Tom Waits - as far as unique goes, he's set
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