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But it also lays bare exactly how they created a song. Much else comes out besides, including that the catering at Apple Corps headquarters was miserable (amounting most days to toast and digestive biscuits) and that, even amid the excesses of the late 1960s, the Beatles dressed more or less respectably (apart, that is, from George’s occasionally outlandish choices of outer- and footwear). Among the filmmaker’s avowed aims was to show that, even on the verge of acrimonious dissolution, John, Paul, George, and Ringo enjoyed stretches of productiveness and conviviality.
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In its nearly eight-hour runtime Peter Jackson’s new documentary series The Beatles: Get Back offers numerous minor revelations about the world’s favorite band. Paul really has nothing at the 30 second mark-but 45 seconds later he’s got the makings of a hit single. I’ve never seen anything like this on film before.
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Hear All of Mozart in a Free 127-Hour Playlistīased in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Why Marvel and Other Hollywood Films Have Such Bland Music: Every Frame a Painting Explains the Perils of the “Temp Score” How Sergio Leone Made Music an Actor in His Spaghetti Westerns, Creating a Perfect Harmony of Sound & Image The Wicked Scene in Amadeus When Mozart Mocked the Talents of His Rival Antonio Salieri: How Much Does the Film Square with Reality?Īnimation Pioneer Lotte Reiniger Adapts Mozart’s The Magic Flute into an All-Silhouette Short Film (1935) The Creepy 13th-Century Melody That Shows Up in Movies Again & Again: An Introduction to “Dies Irae”
Even in his time, the music of the past offered a means of heightening the feelings of the present.
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Given its “sense of both suspense and inevitability, which is a unique and potent combo,” it typically scores scenes of violence and villainy.Įlsewhere, the Lacrimosa has been marshaled to evoke such emotions as loneliness, desperation, and reckoning - and even, in one of Puschak’s more recent examples, “the immense, unruly power of the social internet.” If such a phenomenon would be difficult to explain to Mozart himself, imagine showing him the television series The Good Fight, where “Lacrimosa amplifies the comedy of a scene in which the lawyers get their hands on Donald Trump’s alleged ‘pee tape.'” But Mozart obviously understood full well the underlying artistic principles at work: Amadeus also depicts him composing the Dies Irae, another of the Requiem‘s movements, whose melody he adapts from a thirteenth-century Gregorian funeral mass. But that legacy includes all manner of uses of the Lacrimosa in film and television, both glorious and inglorious. The shortcomings of Mozart’s burial have surely been compensated for by the glories of his legacy.
In Amadeus, Miloš Forman’s film about the composer himself, the piece accompanies a sequence showing “Mozart’s dead body being unceremoniously transported and dumped into a mass grave.”
“We should probably expect some of these uses to have a somber, funereal quality, and they do,” says Evan Puschak, better known as the Nerdwriter, in the new video essay above. Many of these owe to the use of one piece, indeed one movement, in particular: the Lacrimosa from his Requiem, which contains the very last notes he ever wrote. Despite having died a century before the birth of cinema, he has racked up and continues to rack up more composer credits each and every year. In the annals of surprisingly impressive IMDb pages, few can surpass that of Wolfgang Amadeus Mozart.