Word: accordions
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...Wilde, who has known him since 1955. Wilde remembers Cambodia in the mid-1950s as a gentle, bucolic land of temple bells and gilded stupa spires gleaming in a green landscape. In those days, Sihanouk was known as something of a playboy who dabbled in songwriting, crooning, saxophone and accordion playing, moviemaking and women. On occasion, Wilde reported, "the Prince would hold press conferences in the open-air dance pavilion of his wedding-cake palace. Sometimes his daughter would execute classical Cambodian dances, and there was always champagne to mark the end of an audience...
...moves to the next stage of the narrative, picking up Gavino's story in his twentieth year. As implausible as it may seem, the son apparently discovers for the first time the possibility of alternatives to his shepherd's lot when he hears a Strauss waltz coming from the accordion of two minstrels on their way to a local fair. Gavino's self-education begins with his mastery of the accordion and proceeds apace, although he does comply with his father's orders by going off to the mainland to join the army. In the army he learns to read...
...startling is the Tavianis' extravagant use of sound to intensify and comment upon the film's pivotal incidents. When, for instance, the hero first experiences sex (in the form of bestiality), the panting of a chorus of unseen copulators overwhelms the action. Later, a moment of incongruous accordion music smashes the film's pastoral hush to prefigure Ledda's liberation from the enforced silence of his youth. While the film is vibrantly photographed and generally well acted (notably by Omero Antonutti as the father and Fabrizio Forte as the young Ledda), the sound track...
...Joel's hidden talents, his tremendous creative ability. Though much of the side is not of as high caliber as the material on side one, it is remarkably diverse. Probably the weakest cut of the side is "Vienna," a bluesy lament filled with the sounds of Dominic Cortese's accordion, which still does not compare to "New York State of Mind," the blues entry and consistent show stopper from Turnstiles...
...play a luminous soul. In the disastrous revival at Manhattan's Circle in the Square Theater, Lynn Redgrave proves woefully incapable of that. She has the inspiring warmth of an undraped mannequin in a store window. Her metallic high-pitched voice seems to issue from some implanted accordion, and her stance and gestures suggest those of a badly coordinated puppet. She seems to want to hear her heavenly "voices," but perhaps the decibel count onstage is too high for that...