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208.58.2.83
Saw this a couple of weeks ago with a friend in San Diego and have been mulling it over ever since. We both agreed, it was great, great. Most everything that can be said about it, has been already, and most everyone knows the general outline too, so:Technically the film was masterful, lots of action without a single (so far as I could see) frame of digital FX. Dramatically, it’s a series of set pieces that not only hang together but are almost psychically draining in their intensity. As one critic (Lisa Schwartzbaum) noted, “There’s no gap between entertainment and art.”
Ah, but the music! Few have spoken of that.
The film opens with – and how long has it been since you’ve heard this? – In the Court of the Crimson King. Val and I looked at each other…
And older British rock music is heard throughout, with several appearances by Pink Floyd. At two points the visuals flash Pink as well: A brief re-creation of the Animals cover with Pigs on the Wing (the great balloon), and even more briefly, as the illegal immigrants flooding post-Apocalypse Britain are shipped off in boxcars, we see their faces turn into the masks of Pink Floyd’s The Wall, in a similar setting.
Most searing of all, and not likely to be caught by many, was the song sung at low volume in the background as the Clive Owen character (what a great actor!) overhears a discussion about his deceased child. It was Nun will die Sonn' so hell aufgeh'n -- from Mahler’s Kindertotenlieder (Songs on the Death of Children). Whew!
Follow Ups:
Oh dang... this film was puting me to sleep.
Just saw it this evening.Didn't like it much.
There were a couple good combat scenes though.
z
Good comments on the music. I thought that the action sequences were particularly well done. Perhaps the grimest dystopic film I have ever seen. Despite your comments, you don't go out whistling the tunes at the end. BTW, didja notice Michael Caine's audio equipment?
...the cool computers?Everything else seemed to be kinda... unadvanced...
clark
Great comments.I don't get gobsmacked by a movie very often these days - but CoM was overwhelmingly my favorite film of 2006. I've been a fan of Alphonso Cuaron for several years but he and his team far exceeded even my expectations with this one.
I haven't been as emotionally overwhlemed in a movie theater in a long time. The technical execution is dazzling but always in service to the story.
What I love about Cuaron is his brilliance at visual story telling - he is one of the most intensely cinematic directors working. And his personal attention to detail is astounding - script, set dressing, lighting, design, costuming, photography, casting, acting, music etc is so specific to his vision. There was, in fact, quite a bit of digital work in CoM, including that PF "Animals" balloon, as well as Kee's infant (animatronic and CG) and much else. But the CGI never intrudes or interferes with the story - it only makes the story more real.
BTW, in his spare time Cuaron helped to produce pal Guillermo del Toro's Pan's Labyrinth, my #2 film of the year. The guy is on a roll.
I'm so glad Clive Owen was not Bond - this is his best role. He's in nearly every scene and carries the emotional weight of the picture. A very subtle and masterful performance. The rest of the cast is excellent too - it was great to see Pam ferris get something worthwhile to do. Caine is a hoot, but very touching too.
Too bad Cuaron didn't get a BD nod from AMPAS. But I think this film will be one to have an impact for a very, very long time.
...and afterwards as well. Last I recall for myself was Seven, where I wandered around the mall in a daze for half an hour. But that was not a pleasant daze.clark
Pink Floyd for a futuristic film about mankind's alienation?
Hardly an example of blazing originality. Rather, the selection of pretty much any secondary school stoner.
That being said, the film could be excellent...
The Pink Floyd "Animals" reference makes perfect sense when you see it in context - the reference is actually visual. Cuaron is very specific about the music used, whether its ironic, iconic or commentary on character or action. it's there for a reason, and not necessarily the most obvious one.Be sure to look for visual details. Cuaron is a strongly visual storyteller and much of the narrative can be found in those details, in the background and in the corners of the frame. Lotsa references and info so it helps if one pays attention.
d
The Michael Caine character is sort of a 70s hippie, so there is a decent amount of 70s rock. But much else beside that. Check the link for the soundtrack. And in the movie itself, there is much more variety than what made it to the soundtrack.
...the many classical cues, such as the aforementioned Mahler Kindertotenlieder (sung by Fischer-Dieskau) and many other classical excerpts.The actual score is by noted British composer John Tavener.
I think it leaves out a lot of the music, but it is some indication that they did not just make obvious choices.
Classical pieces I remember...
Handel: "War, He Sung, Is Toil And Trouble" from Alexander's Feast
Mahler: Nun Will Die Sonn' So Hell Aufgeh'n from Kindertotenlieder
Penderecki: Threnody For The Victims Of Hiroshima
John Tavener: The Lamb (Arranged for string orchestra)Plus the new piece "Fragments of a Prayer" composed and conducted by Taverner specifically for the film. I thnik there is more of taverners previous work in there too but I can't remember them all.
Agreed, the use of music is anything but obvious, but it is apt.
There are two soundtrack CDs for Children Men, a pop one and a classical one.
That tune once sent a friend rather over the edge when he was tripping. I had played it deliberately for that effect, as he would do the same for me.I *thought* it was Dieter singing, but didn't take the effort to check. Thanks.
clark
...I've had the recording forever and many others of his. A very distiinctive baritone, and one of my faves of all time. I was lucky enough to hear him a couple times live in recital.Quite amoment in the fim for me.
OOOOOOooo you bad on the Penderecki! LOL!
...how could I follow that act? He had already played me Lemmings from Pawn Hearts... drove me crazy from the room...clark
screening (and didn't "cheat" afterwards)... you are one brilliant guy.
Sincerely.
I'm a geezer but I've never had a steel-trap as that which possibly inhabits your cranium.
Lucky man!
...a brilliant "gal" ;-)If it makes you feel any better I had to look up some of the pop tunes, although being an aging boomer I knew the 60-70's stuff. Now I guess I'm going to have to check out Jarvis Cocker.
The classical stuff wasn't obscure so that's a pretty easy call for me. I'd not have been so sharp with jazz tunes or bel canto.
I was awed by the technical excellence of this film at first along with the extraordinary creation of a believable "other world." I really had to chew on this film for about a day to fully digest and appreciate the underlying themes and the rich, varied and human treatment of them. For me this was far and away the best picture of the year and a landmark achievement. On a side note there actually were many digital effects in the movie. This is an example of digital done right.
posting the same post twice in different forums is a no-no.
I realized afterwards that it was more about music, than movie.clark
I thought the music made this movie and the list in the end credits is quite stunning in its eclecticism, originality, and just plain good taste. The movie itself was, for me, good, not great because of a little too much generic "action" toward the end.
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