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the only thing on the world that matters is Money, Success, Fame, Glamour

Get Me!!

Beautiful music for a beautiful movie


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A great soundtrack for a great movie, Emir Kusturica´s "Life is a miracle". This soundtrack shows how to make a fusion between traditional music of any country, in this case Serbia, and elements of popular music like rock, jazz, electronic. The music has the same feel of the movie, sometimes the mood is like a party, sometimes is nostalgic and melancholic. It has great moments of beauty and musicality, and we don´t need any image to complement it.

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Ko.yaa.nis.qatsi (from the Hopi language), n. 1. Crazy life. 2. Life in turmoil. 3. Life disintegrating. 4. Life out of balance. 5. A state of life that calls for another way of living.

I had happened upon Philip Glass, strolling along upper Broadway, and he invited me in to hear some new music. He dropped the cassette into his player and turned up the volume. A solemn passacaglia scored for the deepest registers of the organ began, gradually augmented by churchy arpeggios. Finally, an impossible dark, sepulchral voice began to sing/croak the Hopi word Koyaanisqatsi (Ko-YAWN-is-SCOTS-ee).
I was impressed; it was like nothing else I'd ever heard, not even from Glass. "This is music that might conceivably have been written at any period in history," Glass explained as the movement progressed. "I find this sort of 'ahistory' very interesting. The harmonies are spare and consonant, the arrangement is starkly simple. And yet it's new, don't you think?"

Tim Page

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A perfectly surreal match for a fairly surreal movie

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One of a handful of masterful films Fellini made during the '60s, including La Dolce Vita, Giullietta Delgi Spiriti, and Satyricon, 1963's 8 1/2 is arguably the director's best work and one of the high points of 20th century cinema. Eschewing many traditional narrative devices, Fellini presents his biographical portrait through a prismatic and fantastical series of flashbacks and "real time" scenes, both professional and personal in content. As usual, his longtime musical collaborator, Nino Rota, substantially enhances the dreamy proceedings with a music hall melange of jazz, classical, lounge, and circus music. By way of his usual and seamless stylistic shifts, Rota moves the Sousaesque main title theme through a mix of operatic interludes, cabaret swing, polka romps, and organ combo ditties — often in the space of one number. While done in less dramatic fashion, Rota similarly stretches out the bouncy and self-explanatory "Carlotta's Galop" theme, even pairing it on one piece with Wagner's Ride of the Valkyries and a lively, Edith Piaf-inspired vocal. On the same high level of Rota's other popular Fellini soundtracks, 8 1/2 works both as an essential soundtrack title and an optimal first-disc choice for newcomers.

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For The Hours, Glass assembles an orchestra with an emphasis on five central performers: a pianist and string quartet. Perhaps the most interesting aspect of Glass' approach to the timelessness of the story is his choice not use the musical styles of any of the three time periods actually depicted in the film for his score. One could very easily have expected a score in tune with Elmer Bernstein's Far From Heaven (another contender for music awards in 2002) for The Hours, and that kind of more melodic, but equally simple score might have served well. Glass, however, reaches even further back to his classical roots for the score, and it succeeds more because of its consistency in motifs and quality rather than style.

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