You might take if for a scene from a procession in Thailand or a sketch from festival from Africa or even a snapshot from the gala celebrations in Brazil. Schroeter set out to make a film about Marilyn Monroe ten years after her death as a meditation on the new feminism in America.
The result was this bizarre chamber melodrama about three women who turn an abandoned shack in the Mojave Desert into a kind of Charles Manson commune. The three lure men to their lair, force them to have sex, then rob and murder them. Quote: Werner Herzog returns to the South American jungle with Juliane Koepcke, the German woman who was the sole survivor of a plane crash there in On the English track we hear Herzog in voiceover we do not seen him on screen translating the Italian dialogue into English, and on the German track his voice can be heard doing the same in German, naturally.
On the Italian track there is no voiceover in these sequences. There is a slight sibilance but nothing particularly distracting. The music comes across very well, with excellent dynamic range and considerable bass. Stereo separation is very good and there is a discernable soundstage for the madrigal performances. The decision as to where to acquire it would therefore be based on price and convenience.
Year Of Production. Studio Distributor. English Dolby Digital 2. Jacket Pictures. Annoying Product Placement. Log in with Facebook Log in with Google. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.
Need an account? Click here to sign up. Download Free DOC. Download Free PDF. Holly Rogers. A short summary of this paper. Download Download PDF. Translate PDF. The film, released in , is an hour-long documentary filmed for ZDF television which explores the life and music of Don Carlo Gesualdo, the reclusive, avant-garde madrigalist of the sixteenth century who murdered his cheating wife and her lover. The director boasts a lifelong preoccupation with music, a fixation that led him to the theatre, where he directed eighteen operas, including Lohengrin at the Bayreuth festival in While it is easy to put such relationship with music down to an auteuristic desire for complete artistic control, it can also be argued that the resultant audio-visual synthesis sees Herzog reach for a higher harmony that harks back to the nineteenth-century Wagnerian aesthetics of intermedial unity.
The search for a Gesamtkunstwerk or total work of art by Wagner and others during the nineteenth century was fuelled by a desire to create a unity larger than the sum of its parts.
Wagner considered opera a unity in which no one art was subservient to another. Largely forgotten after his death, the composer only re-entered the public imagination during the Twentieth Century.
But for me if was as if I had discovered something tremendous within our solar system, and out of that sprung a film about Gesualdo which I carried within me for many years Herzog and Cronin , The madrigal, a secular vocal form in which every poetic image is set to a different musical unit, stood in stark contrast to the smooth, polyphonic writing of Palestrina and other Renaissance composers. In order to preserve his even polyphonic flow, Palestrina confined dissonant intervals to weak beats, or provided immediate resolution for those found in stronger parts of the bar.
Rather than progress via such a smooth, melismatic continuum, madrigal composers placed their texts within disjunctive and oppositional sections, in which melodic lines could include both leaps and dissonance. Through the uneven phrases of the madrigals, the music pursued its course, never sticking to the same key for two bars together.
In Gesualdo, that fantastic character out of a Webster melodrama, psychological disintegration had exaggerated had pushed to the extreme limit, a tendency inherent in modal as opposed to fully tonal music. The resulting works sounded as though they might have been written by the later Schoenberg. The whole is disorganized.
But each individual fragment is in order, is a representative of a Higher Order. The Highest Order prevails even in the disintegration. The totality is present even in the broken pieces.
At least you aren't lulled into a sense of false security by some merely human, merely fabricated order. Nor is it a documentary, as the the sequence would be broken up with psalms, readings information on the DVD case states.
Lis- straightforward documentary on Gesualdo, featuring tening to the disc all the way through is an eviscerating interviews with people in modern-day Naples and Gesu- experience and it leaves one thoroughly miserable. When performed as part of the fully staged. Testolin cannot really be Place, the director of the Gesualdo Consort of London.
As the film progresses, of the service composed by Gesualdo. Still, in a way it the interviews become more surreal and the film itself would be less problematic to present the responsories as more obviously an elaborate joke, but they all retain some the Kassiopeia Quintet presents the madrigals, simply as documentary verisimilitude in the filming style. It turns out that she has Occasionally it sounds as if they are holding back.
They are surprisingly intense and impassioned and ders, now a rather sedate middle-class apartment building, show how expressive the viola da gamba can be in the and the sequence is accompanied by suspenseful s-style right hands. All of the non-English material is trans- before and about which nothing is said in the CD booklet, lated by Herzog in a comically expressionless voiceover.
Of course Gesualdo did gruesomely murder his wife and her lover, but his remaining a tortured soul for the rest of his life is largely unfounded, as indeed is the assumption that the murder had any bearing on his compositional practice. From that myth of a troubled psyche leading to radical composition, one is only a short way from claim- ing, as the interviewees do in the film, that Gesualdo tor- tured his sons, or that he was the devil incarnate.
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