Word: musicalities
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...final concert given by The Band; Feel Like Going Home (2003), his affectionate retroglance at old Delta bluesmen; and No Direction Home: Bob Dylan (2005), a compilation of interviews and performances from Dylan's early years. All these films speak to Scorsese's fervent belief in movies as music. You see this in his studio pictures: in the operatic intensity of the acting and the camerawork and in their use of music, from arias to doo-wop, to underline an emotion. But he's also done a political doc (the 1970 Street Scenes, about antiwar protests), a loving portrait...
...Shine a Light isn't the record of a unique event, so it's not on the exalted level of The Last Waltz. But it has its own fascination. The film is less about the music than about the dedication of show-biz troupers--about doing your job, year after year, as if it's your joy. Jagger and Keith Richards, no less than Ethel Merman and Henny Youngman, have the veteran performers' love of pleasing an audience with routines that used to be antic but are now antique. By now, surely, they have performed Satisfaction more times than Judy...
...identified before Congress as a former communist, was also a master of film noir--exemplified in movies such as 1948's police thriller The Naked City and 1950's Night and the City. Among all his solid works, though, it was Rififi--with its masterly 30-min. dialogue- and music-free robbery sequence as a centerpiece--that remained his most influential film. Dassin...
...professor Alfred Guzetti, Miller’s thesis advisor, says. “It’s trying out so many things at the same time—the actors, the development of the script with the actors, the improvisations that went behind it, the staging, the combination of music with drama in this extremely improbable way, the amplification of the action through the media, and then the bringing of the whole issue of YouTube and the popular media and making that such an integral part of what happens on the stage, and then extending the project so it?...
...then screened a video clip of the mournful pas de deux. Though the rather grainy projection lacked the subtlety of facial expression and movement quality of a live performance, it succeeded in showcasing the understated, gestural quality of Tudor’s choreography. Set to the deeply emotional music of Gustav Mahler, the work provided a strong counterpoint to the sprightlier “Barocco.” Tracey says of “Barocco,” “In 18 minutes you see everything you need to know about ballet...The marriage between the music...