SOME SOUNDTRACKS

This is my comment in MISTERIO ABIERTO's blog:
http://misterioabierto.blogspot.com/2010/01/for-jit-1-anne-wiazemsky.html

I think this music would have fit very well with Bresson's films, because I think it is very minimal and sad. Or maybe Bresson didn't want to use it, because he doesn't want the music to guide the audience to feel sad.

I don't know anything about Debussy, but I think it is interesting that his music is used in another feel-bad film: ALL ABOUT LILY CHOU-CHOU (Shunji Iwai).

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This is a part of my e-mail to someone:

--As for Duras' book, THE LOVER and UN BARRAGE CONTRE LE PACIFIQUE have been translated into Thai. THE MALADY OF DEATH will be translated into Thai soon. I have also read the English translated version of INDIA SONG (the theatre script). It is very close to the film version. I wonder how it would be like when it is really performed on stage, because it would be much slower than most theater plays. I think it would be more similar to a piece of performance art than to most theater plays.

I didn't know that Duras hates BAXTER, VERA BAXTER. Actually I saw this film with Spanish subtitles, so I understand nothing about it. From my guess, I think this film may not be as interesting as other films by Duras, because the images are not as attractive as in her other films. But it is still more interesting than most films by other directors.

I like some films which are hated by their own directors, such as DUNE (1984, David Lynch). I think DUNE is inferior to other films by Lynch, but I still prefer it to most sci-fi films by other directors.

Talking about tragedy music soundtrack, I wonder if you have watched THE ROAD (2009, John Hillcoat), because my friends are divided into two groups—those who love its soundtrack and those who think its soundtrack is superfluous. I belong to the first group.

The use of soundtrack in Godard's films is very interesting, because it doesn't always correspond to the mood of the scenes like in most films. That's why I like the use of soundtrack in WEEK-END and LE MEPRIS.

I love the music in Bela Tarr's films very much. It has a peculiar kind of sadness in it. His films make me realize how great accordion sound can be.