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June 2001, Week 1


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amey kelly <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Wed, 6 Jun 2001 08:51:54 -0700
text/plain (67 lines)
so contemporary music is not allowed in films that
take place in past time period???  then why is it ok
for mozart, beetoven, etc... to be used in films that
that take place in the present day?  what about
beetoven's fifth used in kubricks 2001 opening?
--- Eugene Walz <[log in to unmask]> wrote:
> Excerpt from: 'Moulin Rouge': An Eyeful, an Earful,
> Anachronism
> NY Times review
> <snip> In telling the story, Mr. Luhrmann pilfers
> music and movies like a
> fearless home invader; he kicks the door down and
> takes what he wants right
> off the table. The movie vaults from "La Bohème" to
> "La Traviata" to
> "Camille" to "Cabaret."
> It's not a novel idea to use anachronism as an
> anchor for musical numbers;
> "A Knight's Tale," which opened last week, employs
> the same tactic. But it
> has never been done as unremittingly as it is here.
> In one number, Patti
> LaBelle's sweaty "Lady Marmalade" morphs into the
> snarling grunge
> melancholy of Nirvana's "Smells Like Teen Spirit," a
> combination that would
> be lost on even D.J. Qbert and the Columbia Record
> Club.
>  When the number works, as when Mr. Broadbent gives
> a new snap of the
> suspenders to Madonna's "Like a Virgin," it can be
> invigorating. But these
> songs became part of the cultural canvas because
> they distilled a single
> gesture, which is undeniably the true essence of
> pop. The lines "Oh, well,
> whatever, never mind" (from "Smells Like Teen
> Spirit") or "Voulez-vous
> coucher avec moi ce soir?" (from "Lady Marmalade")
> are given air in those
> original songs. Hijacked from their moorings, they
> float aimlessly.  etc.
> Gene Walz
> Film Studies
> U of MB
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