'Sound of Noise' is called a 'police musical' and this might be a genre in itself, invented by the Swedes but even if we find a police trying to catch a group of 'music terrorists', the film is more about exploring different sounds in our daily life and making music out of them.
The story circles around six musicians, mainly percussionists, having as their ambition to invade our day-to-day life with music and rythms and doing so by using every conceivable means and methods, making music out of, at first glance, non-musical items and things.
The milieus they use are a bank, an operating room with a patient, huge tractors, drilling machines and more.
Trying to depict and make music out of the sounds in our daily life is in itself not a unique concept.
In earlier pre-urban time, the nature and all the sounds produced by the wind, the water, the animals etc. inspired composers to write music in a more or less mimic fashion.
When the urban life became the novelty in human life, the city with its 'noise' became another inspirational source for composers and film makers.
In the latter case we can mention Walter Ruttman's 'Die Sinfonie der Grosstadt' as one example.
Not retelling the story in toto, we can only mention that besides the 'music terrorists' we find a music hating police inspector with a brother being the chief conductor of the sympony orchestra in town.
The name of the police inspector is Amadeus Warnebring and where the name Amadeus stems from is of course obvious but for Swedes the name Warnebring also evokes a popular Swedish singer, Östen Warnebring, active during the 1960's til 80's.
As Aurore and I earlier have seen the short film 'Music for one apartment'and Six Drummers' (2001) - lasting 10 minutes - by the same directors and liked it very much, we now wondered if Ola Simonsson and Johannes Stjärne Nilsson, would succeed in making a film centered around the same group and a similar theme but lasting 102 minutes.
As a matter of fact we thought they succeeded in their efforts, not least since there were many side stories making this film very entertaining and thought-provoking, not least in a time when - once again - one discuss what should be regarded as art and music and how, where and when art and music should be displayed or performed (a recurrent discussion).
As Aurore worked as production assistant on this film (as well as on 'Les grandes personnes') she could compare the screenplay she had seen and the final result and there were some differences, not least in the ending of the film but this information we keep to ourselves.
We could also enjoy seeing our(!) names in the titles after the film.
Aurore had actually worked on the film but what had I done?
Well, according to one of the producers - Olivier Guerpillon - I had talked to and entertained a couple of other producers and bought a cake we ate together and this was of course very important!
(Photo Cinéma l'Apollo copied from: http://www.ville-chateauroux.fr/uploads/pics/apollo_04.jpg)
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