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Movies Forum Index » International Movies Forum » _Chronicle of Anna Magdalena Bach_
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| Guest |
 Posted: Sat Dec 08, 2007 7:27 pm |
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This is the first film (and only) by Straub/Huillet I have
seen and have access to. Regretfully the essay by
Armond White is missing from the rental DVD. I hear
so much praise about Straub/Huillet that it is almost
bound to be a let-down, and a let-down it is. Part of
the reason is I've never been a fan of Bach's suites,
organ music, or keyboard work (not even the
Brandeburgh (sp) concertos). On the other hand,
I really like his violin and cello pieces and they are
nowhere to be found here. I'm partial to some of his
choral work, and a few are presented here.
I've often wonder what is the best way to film a recital
performance. One can just shoot without cuts and
edits, the way a live audience would see it. That
is pretty much what this 1967 film does. One can
go to the other extreme and portray Yo-Yo Ma
playing the cello suites in the middle of NYC streets
like a rampaging rock star, or have Patricia Rozema
film ballad dancing in the background. The modern
touch. Still much of the time the fascination is with
the performer, to be able to watch their fingers move,
their face contort with intensity. Much of the time
the performer is shown in profile or with his/her face
to the back of the audience. These are not very
emotional pieces anyway (except for the Passion),
so I come away feeling enervated and not all that
excited about listening to more Bach or watching
more Straub-Huillet in the future. Sorry to the SH
boosters. I just don't see the thrill of performance here.
Of course it is bad to have much showmanship than
talent. But a live concert is truly an amazing thing
to witness. To this day I remember Midori swinging
her tiny body and big violin bow like a Samurai to
Britten's violin concerto; various quartet and trio
members exchanging glances, striking their
instruments in perfect unison like battle lines in
action, NFL] offensive linemen excuting intricate
counter traps; and of course, Anne-Sofhie Mutter
at center stage, now barely breathing on her violin
(so sensitive is her touch), now bringing the house
down with her powerful strokes. Even as I type,
I'm watching more musician's backside as they
dispassioniately ply their craft. This is
surely as agressively stylistic as the PBS "tribute"
to Yo-Yo Ma a few years back; I'm just not buying
either of these approaches. |
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| Guest |
| Posted: Sun Dec 09, 2007 9:00 am |
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Quote: I've often wonder what is the best way to film a recital
performance.
The best scene in the film is the recital of one of the Goldberg
variations. Which reminds me of the God awful _32 short
films about Glenn Gould_, which has nothing substantial
about Gould at all. Instead, the Straub film tries very hard
to be authentic and fill in details about Bach's professional
and person life in the form of his 2nd wife's diary. But the
film deliberately eschews drama and emotion, even when
she is describing the death of their children. Maybe I'll try
another Straub/Huillet film when it becomes available,
but right now it seems to be another case of critics overpraising
rare films again. |
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| Guest |
| Posted: Thu Jan 10, 2008 4:38 pm |
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Quote: I've often wonder what is the best way to film a recital
performance.
Having just rewatched the extras on the A.S. Mutter Beethoven
sonata disk, I am reminded that my favorite shot of a performing
violinist is always the Guardian Angel, over-the-shoulder shot where
you only see the performer's hands and fingers and the back
of his/her head. That's the standard shot of a pianist; sadly it
is so seldom used with violinists! |
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