Re: Marie Antoinette - the music
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Originally Posted by Ted Todorov
Anyway, I hope no one who is offended by the music spots the pair of purple Converse sneakers, or their head might explode
 Ted |
Glad I'm not the only one who saw that. Took a second viewing to be 100% sure they were really there. Strangely they didn't look that out of place with the shoes she was trying on.
For me, however, classical compositions in film do not evoke verisimilitude, or "being there," or whatever we want to call it, as much as they evoke the unique feeling of just looking at a painting from a similar or relevant period. For me, it's a feeling of "filtered" reality, if that makes sense. For example, the Caravaggio shot in Last Temptation makes me think of Caravaggio, more than Willem Dafoe's plight; it distances and elevates the moment by providing a visual "reminder" that puts the story into a decidedly larger mental context. Of course, this is not a bad thing, as it is ultimately all about conveying Dafoe's situation. Barry Lyndon takes the distancing angle to an extreme, and is distanced even by Kubrick's standards. With Marie Antoinette, however, I got a different reaction that was much more immediate to the character, and I feel this was, in part, a result of Acord's (and Coppola's) compositional sense, their choice of handheld during many scenes, and Coppola's very contemporary blocking. I realize that you didn't say that Coppola was purposefully emulating 18th century paintings, but I just thought I'd clarify my personal reaction to the film's approach.
