Sonic Youth Gossip - View Single Post

!@#$%! · 09.17.2016, 05:23 PM

so the 2nd part was a bit more of the same but here is the descent

maybe too buzzed i stopped paying attention to the wigs

BUT a funny thing happened and mozart started to look a lot like pink in alan parker's pink floyd movie "the wall". there is a very slight physical resemblance between hulce and bob geldof (both slightly neanderthal heads) and the whole wasted-wornout-burned out rockstar vibe came to the front for me, especially as mozart becomes the pop genius with his vaudeville incursions-- stadium rocker runs empty of juice

the other strange parallel is that when mozart gets sick he started to sound a hell of a lot like ferris bueller when he malingers. it's like-- thats fucking ferris bueller! an 80's teenager. watt.

i don't know the exact releases of these 2 movies but roughly the same era

the other thing is that things started to get a bit too sturm and drang at this point. the music is great but gets too loud, the plot starts to compress, the shots get a little too "significant" and overwrought (there's that word again). it relies too much on montage. but at that point the rock is rolling down the hill to its inevitable conclusion anyway o a bit of schlocky hollywood is understood. maybe this is where the direction could have been more subdued instead of making things overly obvious.

then back to the scene when they two of them are writing the music, it's nice the way the music comes together, piece by piece, how each voice gets piled on top of the other. maybe kieslowski borrowed that for blue. that was nerdy-nice and obvious movie bullshit too, but i didn't want to apply moronic logic to the moment--

speaking of moronic logic (i can't help myself) it's a bit absurd that he wouldn't recognize salieri's voice and accent under that mask. i mean... but whatever. hitchcock told me to ignore it and so i did. fine. i accepted it.

so overall this was a great pepperoni pizza that starts delicious and by the end it makes you a little sick. but okay. maybe it's the fucking potato chips i ate.

regardless, seems to me today's forman festival was about "youth vs. the father. in loves of a blonde you get the commie leaders and the creepy fucking soldiers who are attempting their creepy move on the girls. and the musician and his dad and mom. and the poor factory patriarch with his good intentions and dim wit. and also laughing at the mediocres. weird the parallels one finds like that.

ebert in his review compared amadeus to mozart, and that again it's hippies vs. authority, and the son getting killed by an authoritarian father.

i guess forman had daddy issues, like the whole baby boomer generation. too much to psychoanalize, i need to sleep this off.

09.17.2016, 05:23 PM	#19588
!@#$%! invito al cielo Join Date: Mar 2006 Location: mars attacks Posts: 42,480	so the 2nd part was a bit more of the same but here is the descent maybe too buzzed i stopped paying attention to the wigs BUT a funny thing happened and mozart started to look a lot like pink in alan parker's pink floyd movie "the wall". there is a very slight physical resemblance between hulce and bob geldof (both slightly neanderthal heads) and the whole wasted-wornout-burned out rockstar vibe came to the front for me, especially as mozart becomes the pop genius with his vaudeville incursions-- stadium rocker runs empty of juice the other strange parallel is that when mozart gets sick he started to sound a hell of a lot like ferris bueller when he malingers. it's like-- thats fucking ferris bueller! an 80's teenager. watt. i don't know the exact releases of these 2 movies but roughly the same era the other thing is that things started to get a bit too sturm and drang at this point. the music is great but gets too loud, the plot starts to compress, the shots get a little too "significant" and overwrought (there's that word again). it relies too much on montage. but at that point the rock is rolling down the hill to its inevitable conclusion anyway o a bit of schlocky hollywood is understood. maybe this is where the direction could have been more subdued instead of making things overly obvious. then back to the scene when they two of them are writing the music, it's nice the way the music comes together, piece by piece, how each voice gets piled on top of the other. maybe kieslowski borrowed that for blue. that was nerdy-nice and obvious movie bullshit too, but i didn't want to apply moronic logic to the moment-- speaking of moronic logic (i can't help myself) it's a bit absurd that he wouldn't recognize salieri's voice and accent under that mask. i mean... but whatever. hitchcock told me to ignore it and so i did. fine. i accepted it. so overall this was a great pepperoni pizza that starts delicious and by the end it makes you a little sick. but okay. maybe it's the fucking potato chips i ate. regardless, seems to me today's forman festival was about "youth vs. the father. in loves of a blonde you get the commie leaders and the creepy fucking soldiers who are attempting their creepy move on the girls. and the musician and his dad and mom. and the poor factory patriarch with his good intentions and dim wit. and also laughing at the mediocres. weird the parallels one finds like that. ebert in his review compared amadeus to mozart, and that again it's hippies vs. authority, and the son getting killed by an authoritarian father. i guess forman had daddy issues, like the whole baby boomer generation. too much to psychoanalize, i need to sleep this off.
	\|QUOTE AND REPLY\|