- This topic is empty.
- Posts
I can’t think of ANYONE cooler than Elfman. In fact, Elfman is the very DEFINITION of cool … No, he’s COOLER than cool. There isn’t even a word to describe how cool Elfman is.
Very classic choices….but then, you can’t deny the films he talks about are among the most important in cinema’s history !
Quite funny though that he praises the use of music in The Shining while it’s most commonly referred to as Kubrick’s worst use of non-original music.
For my part, I’ve seen the film a zillion time and I still can’t figure out if the music is brilliant or completely out of subject. Ah, Kubrick’s mysteries…You’ve got to be kidding me! The music in The Shining was amazingly creepy and fit like a glove to the movie.
Well, I’ve read a bunch of books about Mr.Stanley, from various kinds (from trivia to deep analysis ones) and the music in The Shining is most of the time quite criticized.
I can see why : it creates a feeling of distance that is sometimes disturbing, but not in a good way. Kubrick always included distance when he was dealing with music (Gayane Ballet in 2001, We’ll meet again in Dr.Strangelove, Beethoven’s Ninth in Clockwork Orange, etc.) but in The Shining, that distance is way too important, as if the music is actually out of the movie. Not always of course, but some parts of it.
It’s quite explicit in the scene where Duvall is threatening Nicholson with a base-ball bat (well, it’s actually Nicholson who is threatening her lol). Pendericki’s Polymorphia seems to be played by an orchestra near the room more than attached to the images…But don’t get me wrong : the music DO works most of time…and when it does, it’s spectacular.
That was fun. Thanks, Ryan.
- You must be logged in to reply to this topic.