Word: disjunctiveness
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...Piano Quintet, for piano and string quartet, is leaner, harsher and, finally, less successful. It has a distinctively "American" sound derived from Charles Ives, opening with a questioning overture of bold, disjunct octaves. The composer then weakens his argument with | three short character pieces | that, while agreeable, do nothing to further the work's emotional progress. The finale, however, is a heartfelt Elegia that ends with a haunting repeated fragment in the piano, dissolving in resignation and despair...
Given their direct cinema background the Maysles were undoubtedly uncomfortable with such disjunct segments; there they were with gobs of stage performance footage, an exclusive on Meredith Hunter's murder, and no way to integrate the two. Then someone hit on the bright idea of showing the footage to the Stones, of filming their responses to themselves, to Tina Turner, to the Altamont arrangements, and of course to the stabbing itself. Throughout Gimme Shelter the Maysles cut from a filmed event to a shot of that same film running through a viewer, and then cut to one of the Stones...
...head. This is fortunate because de Grazia also plays Hamlet, which might have otherwise led to a one-dimensional ego-trip production. There is thus no undirectional theme with all the characters a collective midwife to some zinging, overwhelming closing statement. Rather, the portrayals are loose and disjunct, and that serves finally to heighten the senselessness of the tragedy. The tragic climax is not the clear and unavoidable result of certain obvious flaws in the characters. In this sense the production, perhaps inadvertantly, denies the Greek therapy of tragic catharsis, but I think that's good because the notion that...
...groaning ferocity of Steppenwolf's lyrics ("Get the motor running/Shoot out on the highway / Looking for adventure / And whatever comes our way / Hey darling gonna make it happen / Take the world in a love embrace / Fire all of our guns at once and explode into space") and these disjunct moods clash to disengage the viewer. And isn't there something obscene in playing Jimi Hendrix's "If 6 was 9" while Wyatt and Billy shoot past the shacks of the Deep South's black population ("If the sun refuse to shine / I don't mind. I don't mind...
...incantatory Scorpio Rising) matches the groaning ferocity of Steppenwolf's lyrics ("Get the motor running/Shoot out on the highway/Looking for adventure/And whatever comes our way/Hey darling gonna make it happen/Take the world in a love embrace/Fire all of our guns at once and explode into space") and these disjunct moods clash to disengage the viewer. And isn't there something obscene in playing Jimi Hendrix's "If 6 was 9" while Wyatt and Billy shoot past the shacks of the Deep South's black population ("If the sun refuse to shine/I don't mind, I don't mind/If the mountains...