Continue this item in the same state of mind of those last two days. I told you that rock music and film were very good friends. The films of swingin sixties England are the first feature-length fiction that carry with them the spirit of rock. If four boys in the wind (A hard day s night), shot by Richard Lester in 1964 with the Beatles, like a rough sketch, the tone changes dramatically with Blow -Up (1966) where Michelangelo Antonioni (my favorite director) includes a worship sequence with the Yardbirds for Jeff Beck which destroyed his guitar and Jimmy Page. Here the rock transcends cinema by providing a unique material. The scene with the Yardbirds was decisive for me, this is a moment of rock anthology, says Kim Gordon, singer and bassist member of Sonic Youth. In the United States, a founding film Easy Rider, shot by Dennis Hopper in 1969 with Peter Fonda and himself in the lead roles of these two adventurers whose steps bikers travel stigmatize the American heartland of the time. Prototype of the road movie, it also contains a soundtrack where there is the famous Born To Be Wild Steppenwolf, one of the battle cries (Born to be wild) whose rock is customary, but also securities of the Byrds, the Electric Prunes and the Jimi Hendrix Experience. Shortly separates ultimately the American Graffiti George Lucas (1973), which is somehow the antithesis puisquentièrement syndrome based on nostalgia, which is known as the rock, with its imagery and its eternal chorus, is a major provider. In the same way that the current novelists have received a whole bundle of influences including rock, directors modern stage were scored in addition to the rock and its images by Andy Warhol experimental film, films ethnological Jean Rouch (apostle camera contact), the truth, and in particular John Cassavetes and the French New Wave cinema; François Truffaut did not like the rock but Barbet Schroeder signed with More and Valley two manifestos on utopias of hippie culture by a large place to the music of Pink Floyd, and Jean -Luc Godard filmed the Rolling Stones studio in One Plus One). Many of them do not necessarily reflect the rock by his music, they also retain its character that rhymes with social chronicle, painting marginal, contestation, provocation and insolence. Thus among the most pronounced by the film is found rock culture including: - Deep End of the Polish Jerzy Skolimovsky (1971) punctuated by its soundtrack where Can and Cat Stevens mix well; - A Clockwork Orange (A Clockwork Orange) by American Stanley Kubrick unleashed passions when it was released in 1971 and also has the retro-futuristic side of pop art; - Some works of German Wim Wenders which oscillate between thriller and road movie and where rock allegories are present (wandering, the jukebox, the mythical America) as Alice in the Cities (1974) and Paris, Texas (1984); - Jim Jarmusch s films as his Mystery Train (1989), where the music of John Lurie also plays a big role; - Sailor and Lula (Wild at Heart) David Lynch (1990), a road movie where the eccentric hero, Nicolas Cage, sings in an unforgettable scene of Elvis Presley with a snakeskin jacket; - Danny Boyles Trainspotting (1996), one of the most successful of idleness and despair paintings; - More recently, Marie Antoinette by Sofia Coppola (2006), where New Order and The Strokes coexist in the soundtrack with Vivaldi and Rameau in a baroque portrait of the last queen of France. Rock cinema today is multifaceted. It allows Julian Temple in Oil City Confidential (2009) with Wilko Johnson turning in his native island of Canvey Island in industrial vapors from the Thames Estuary to tell a powerful flashbacks and testimonies saga pub group Dr. Feelgood rock. It provides an opportunity for Virginie Despentes to make a film where she transforms her own book Bye Bye Blondie (2012) in a lesbian love story with Béatrice Dalle and Emmanuelle Béart on fund alternative punk culture of the early eighties. It inspires the Finnish director Aki Kaurismäki in its social fable Le Havre (2011), where , true to the nickname given by a critic as the most rock of European filmmakers he play French rocker Little Bob his own role. Lets not forget the importance of film soundtracks, and the additional impact that some of them, when the pieces are carefully chosen to give films. A filmmaker like Quentin Tarantino, himself a great lover of music and knows how to surround music lovers encyclopaedists, has understood, see the music chosen for Pulp Fiction (Dick Dale, The Knack, Dusty Springfield...) or Kill Bill (Nancy Sinatra, Neu!, Isaac Hayes...) that appeal to both the avant-garde rock to pop, soul, and surf music.
Posted on: Sat, 19 Apr 2014 04:30:58 +0000
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