Ten short pieces directed by ten different directors, including Ken Russell, Jean-Luc Godard, Robert Altman, Bruce Beresford, and Nicolas Roeg. Each short uses an aria as soundtrack/sound (...
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The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
Jean-Luc Godard's densely packed rumination on the need to create order and beauty in a world ruled by chaos is divided into four distinct but tangentially related stories, including the ... See full summary »
Powerful supernatural forces are unleashed when a young architect (Kelly Reilly) becomes pregnant after moving to an isolated and mysterious valley to build a house. And when the ... See full summary »
Ten short pieces directed by ten different directors, including Ken Russell, Jean-Luc Godard, Robert Altman, Bruce Beresford, and Nicolas Roeg. Each short uses an aria as soundtrack/sound (Vivaldi, Bach, Wagner), and is an interpretation of the particular aria.Written by
Ed Sutton <email@example.com>
Having made a name for himself with Fiddler on the Roof (1971) and Jesus Christ Superstar (1973) (amongst others), Norman Jewison was once asked what aria he would have chosen to film, and why, had the producers of this movie spoken with him about co-directing it. Jewison, who never was approached, said he would have picked something from La Bohème (The Bohemians), because the subject matter appealed to him. See more »
He looks like he's made for love. He hasn't found my eyes charming enough. He hasn't found my eyes charming enough.
O how I'd love to hate him.
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I'm an opera buff, and operas are full of sex, blood and death. It may help to know the librettos of the operas the arias are from to really appreciate this film -- my mileage is very different than Tug-3. I am a classical music lover, and I liked this film.
I loved Ken Russell's "Nessun Dorma" segment, and would actually like to see him produce Turandot, because opera is supposed to be overwhelming, truly multi-media experience , but then I loved Lisztomania. I love *Turandot* and knowing the libretto so well may be why I don't find this segment the travesty that Tug-3 did.
The Buck Henry/ Rigoletto segment is probably the most approachable for the average viewer -- they are likely to recognize the tunes, and its a classic bedroom farce. I like bedroom farces, so the silliness didn't upset me.
The "Liebestod" segment is so outstanding that I recommend people watch this for that piece alone. "Depuis la Jour" was, for me, beautifully spiritual. And the Caruso recording of "Vesti la Giubba" (aka I Pagliacci) with John Hurt as the clown was wonderful. But people just wanting naked women may feel there is too much music and not enough bare flesh and sex.
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