And when Marty sent me the script, this is just where it went. That script is, on the surface, a psychological thriller, and it is being obnoxiously marketed as a scare-athon. The reviews have been, as they say, mixed, with the music thought of as melodramatic. Nothing could be further from the truth. Robertson says he essays wanted something that didnt sound like typical film music and it is the boldness of these composers that appealed to him. In the back of my mind was the thought, why dont we have some geniuses who could really amplify the emotional ideas? At first, roberston says, this notion threw even Scorsese - whose relationship with Robertson began with the 1978 documentary of the band, The last Waltz. Shutter Island is the eighth movie id worked on with Marty, and it was the first time his response was, Oh, man, i dont know what to do with that. but Scorsese is a musical director and he clearly did know what to do with.
How did this happen? After seeing the film, i reached Robertson on the phone. He explained that he has been a fan of these composers for shakespeare decades. In fact, he said that sometime around 1969, in his years as a member of the band, he was so moved when he first heard Pendereckis disturbing Threnody to the victims of Hiroshima that he began a correspondence with the polish composer, and they became. As for Shutter Island, robertson said, the opportunity to show off these brilliant composers really makes me feel good. It has been something hes wanted to do for a long time. Id always thought Cages root of an Unfocus which is for prepared piano would be great in a movie.
Music, sound effects and cinematography joined to evoke a sense of place and mood as only they can in great cinema and only, these days, when Hollywood looks the other way. That opening music turned out. Ingram Marshalls haunting Fog Tropes. The 1981 new-music classic found its way onto the screen thanks to the famed singer, songwriter and guitarist Robbie robertson, who was music supervisor for Shutter Island. And Marshalls wonderful piece, which was a hit of the los Angeles Philharmonics recent West coast, left coast festival, is only the beginning of a remarkable and gratifying collection of classic avant-garde scores Robertson has assembled for Martin Scorseses new, and I think mostly misunderstood. You certainly wouldnt know it from the awful album cover which looks like your typical schlock horror film soundtrack recording but Robertsons two-cd set of music from Shutter Island, released by Rhino, proves to be an excellent compilation of short pieces by john Cage, john. Brian Eno, mahler and Dinah Washington also find their welcome way into the mix.
Shutter, island book ) (2003)
Also on it, hereafter and Black Swan. Shutter Island, top Ten. The trailers at the cineplex the other day included the usual summer blockbuster suspects showing off their special effects - one cartoonish morph after another after another. Every soundtrack was loaded down with the same super-deep, but sonically shallow, electronic bass. I wasnt sure what felt more depressingly manufactured: a deserted and alienating.
Live, where i happened to be, or the expensive nonsense in the nearly empty new Regal Cinema, which boasts very big subwoofers. Then, shutter Island began, and yet more bass. But this time it was the sound of a foghorn, and it had the rich, compelling texture of music. It was also a real, old-fashioned foghorn. Out writing of this sonic relic grew French horns, as if they had been there all along struggling to get out. The misty boston harbor was on the screen, compelling and mysterious as a painting by turner.
Who is leaving them clues in the form of cryptic codes? Why is there no record of a patient committed just one year before? What really goes on in Ward C? Why is an empty lighthouse surrounded by an electrified fence and armed guards? The closer Teddy and Chuck get to the truth, the more elusive it becomes, and the more they begin to believe that they may never leave shutter Island. Because someone is trying to drive them insane.
0, shares, related Posts, richard Brodys top ten has Martin Scorseses Shutter Island at the top of the list: äú, shutter, island äù (Martin Scorsese) Images that seem wrenched from the most visceral side of the directorÄôs mindäîa sort of cinematic self-psychoanalysis that becomes. And the rest:. The social Network two movies for the price of oneÄîthe sorkin version, with its rueful psychologizing, and the fincher version, with its principled wonder. A portrait of genius thatÄôs reminiscent of äúamadeusÄù but is closer in artistic quality toÄîwhile bearing the generational force ofäîäúrebel Without a cause.Äù. Somewhere one of the most radical films ever made in Hollywood, if the root of the cinema is the conjuring of inner life through outer particulars. The gap between the life lived and the life perceivedäîa quiet tragedy, sartre-styleäîis traversed with the tender, near-weightless glide of a ferrari on a freeway. Check out the rest over at the. New Yorker — his list goes all the way.
Film review, shutter, island (2010) cinema autopsy
The mummy reviewed by kim Newman (July 1999). Along with his partner, Chuck aule, he sets out to find an escaped murderess named Rachel Solando as a hurricane bears down upon them. But nothing at Ashecliffe hospital is what it movie seems, and neither is Teddy daniels. Is he there to find a missing patient? Or has he been sent to look into rumours of Ashecliffe"s radical approach to psychiatry? Rumours that hint of drug experimentation, surgical trials, and lethal countermoves in the shadow war against soviet brainwashing. As the investigation deepens, the questions mount. How has a barefoot woman escaped an island from a locked room?
And I go in fear. Long a musty old broadcast leftover, the film has been given the pristine restoration treatment, and not a moment too soon. The plethora of extras and interviews are great fun (among them an interview with Charles laughton biographer matlab Simon Callow, and a new essay on the film by kim Newman). The region 1 Criterion dvd/Blu-ray, released late last year in the same restoration as the masters of Cinema disc, also boasted interviews with the founding members of devo (consulted merely because of the bands use of the Are we not men? Catchphrase) waxing rhapsodic about the significance of the old film for alienated Ohio undergrads in the nixon era. See also, the man with the scalpel : Kim Newman on mad movie plastic surgeons (September 2011). Island of lost souls : Graham Fuller on, shutter Island (April 2010 king Kong reviewed by kim Newman (February 2006). Hollow Man reviewed by david Thompson (October 2000).
cinematographer was Karl Strauss (. Sunrise ) and screenwriters Philip Wylie (later to write. When Worlds Collide ) and Waldemar young (a nimble jack-of-all-genres and Tod Browning vet) were certainly awake to the queasy implications of Wellss story. Indeed, the groundwork for such a conscientiously upsetting piece of work may have been set in Hollywood by the legacy of Browning, lon Chaney and young. (One should note that at least one of the multitude of Moreaus uncredited beast Men, Schlitze, as well as leading lady leila hyams, appeared that same year in Brownings. Its an overlooked and perverse secret detour running through the homogenised beginnings of Hollywoods Golden Era call it post-wwi body horror, running from Browning and Chaneys. The Unknown (1927) to 1935s mutilative, the raven, after which its horrified impulses seemed to have been scrubbed from the growing industrys docket. Whoever the auteur, this remains by far the best Moreau film (and maybe the best Wells adaptation ever capturing vividly the sense of the books ominous denouement, in which Wellss protagonist, years later, tries to forget what he saw. But, occasionally, he says, i look about me at my fellow man.
King Kong, we visit upon Dr Moreau (Charles laughton) and his sweaty, overgrown enclave, peopled entirely by furry, bestial humanoids created in the lab out of imported animals, whose tribal community in the darkness eventually decides, after transgressions wrought by the doctor following the happenstantial. We know the story, juiced up here with the heros romance with a sultry and semi-feral Panther Woman (wherein a single kisss moment of arousal with an animal turns the mans world upside-down but the movie bristles plan with chilling moments and set pieces, from laughtons. to the climactic turnabout of betrayal and scalpels, with laughton screaming like no human had ever screamed on film before. Certainly, the fur-covered backs and briefly glimpsed mutations of the natives remain profoundly unsettling. Watching the film, you have the distinctive sense of visiting a genuine social phobia, an exercising of centuries of human exceptionalism growing nauseated and sick by the reality of Darwinism and the rise of secular science, which privileges no meat puppet over any other. But in its careful depiction of the manimals own self-regard theyve been led to believe theyre the inheritors of a new evolutionary mantle, and when the lie is exposed the insurrection ignites the film steps into sociopolitical waters that were just getting murky in Germany. Well might we wonder where this slouching beast of a film came from, wicked enough in its day to warrant an outright ban from British censors. (It was banned as well in more than half a dozen other territories.) Its provenance is difficult to nail down: Kenton was an undistinguished journeyman despite some cahiers du cinéma attention in auteurisms nascent heyday.
Founding Documents and Resources - bill of Rights
DVD: Island of Lost souls, the 1932 film. Wellss Dr Moreau story is disturbing and subtextually explosive, writes. Michael Atkinson from our, june 2012 issue, the Island of Lost souls, erle. Kenton; us 1932; Masters of Cinema / Region b blu-ray and Region 2 dvd; 71 minutes; Aspect Ratio.37:1; features: book video interviews with Charles laughton biographer Simon Callow and with film historian Jonathan Rigby, booklet with new essay by kim Newman. Arguably the most disquieting and subtextually explosive of the 1930s Hollywood gout of horror adaptations, this misty hothouse paramount classic acutely evokes the battery of qualmy ideas. The Island of Dr Moreau : filthy secret jungle lairs, megalomaniac vivisectionist prophesying the ugliest nazi experiments while mocking the new 19th-to-20th-century leaps in evolutionary biology and physiology, the disturbing dread of radical miscegenation obliterating our safe beliefs in the separation of human and animal. Kentons film dives into this swamp head first, and no bigger compliment can be made to it than to say that the thematic ickiness of the film is intensified by its early-talkie mood and aura. (If the film had been made five years later, with the accompanying degree of polish, it would lose a good deal of its found-under-a-rock creepiness.) a year before robert Armstrong made it to the humid primeval chaos of skull Island.