3/23/2023 0 Comments Spectre film musicWith Mendes’ tony cachet once more in place (minus the co-piloting of revered d.p. The franchise may have been a consistent performer over 53 years, but never before has it been saddled with the prestige-pic expectations that the new film is now notionally expected to meet. The series-crowning crossover success of “Skyfall” three years ago - yielding not just $1 billion worldwide but breathless reviews, two Oscars and even a BAFTA for best British film - places “Spectre” in a tricky returning position. awaits, though it remains to be seen whether the “Skyfall” is the limit. A wealth of iconography - both incidental and integral - from the series’ founding chapters is revived here, making “Spectre” a particular treat for 007 nerds, and a businesslike blast for everyone else. What’s missing is the unexpected emotional urgency of “Skyfall,” as the film sustains its predecessor’s nostalgia kick with a less sentimental bent. Sam Mendes’ second consecutive Bond outing again passes its physical with flying colors: Ricocheting from London to Rome to Morocco across action sequences of deliriously daft extravagance, the pic accumulates a veritable Pompeii of mighty, crumbling structures. It’s a statement that could be viewed as a pre-emptive spoiler, a sly double-bluff or a swaggering boast from a death-defying franchise that, following the soaring success of “Skyfall,” couldn’t be in ruder health. The music’s celebratory theme grates against the violence and anger inherent in the action.“The dead are alive” are the very first words printed onscreen in “ Spectre,” the 24th and far-from-last James Bond adventure. Instead of the celebration we see in “Traviata,” the meeting is one of hate and danger. As is the case with Alfredo and Violetta, who meet at a big party, Bond meets his match at a party as well. What is also interesting about this sequence and the choice of “Libiamo,” a toast to new love (Violetta and Alfredo are meeting for the first time), is that this insertion follows Bond’s meeting with Oberhauser, the head of Spectre and his new adversary. Stereotypical as it may seem, it is likely more aimed at quickly immersing the viewer in Italy. Since the sequence is set in Italy, it is no surprise that Mendes chooses the first thing most people might associate with the country – opera (that is also likely one of the reasons that we hear the Vivaldi in the Bellucci sequence again and the never hear opera again for the balance of the movie). Regardless of your feelings about this approach, Mendes’ intent is clear and this sequence is a perfect example of that. “Spectre,” as opposed to the preceding films featuring Daniel Craig as Bond, really tries to feature campy humor, a wink at earlier films in the franchise. The music counterpoints the tension-filled sequence and corresponding soundtrack, emphasizing the comedic elements of the contrast. The music playing on the radio? The brindisi from “La Traviata” as performed by Joan Sutherland and Luciano Pavarotti. Suddenly they turn into an alleyway and Bond meets his match – a civilian just driving calmly home. Bond is driving away from the villainous Hinx who is in hot pursuit. The other major instance of opera in the film comes in a completely different fashion. It also prepares the audience for what we know comes next – a romantic scene between this lady and our hero. What the music ultimately does instead is express the romantic allure of Lucia, played by the legendary Monica Bellucci. The mourning vocal lines set a tone of darkness and yearning. The camera tracks with her and on the soundtrack we hear the voice of Andreas Scholl singing “Cum Dederit” by Vivaldi. It’s night and she is walking through her mansion. The first of these comes in the first half when Bond saves Lucia, the wife of a crime lord he recently murdered. There are two distinct instances in which the operatic voice takes centerstage on the musical soundtrack. The same happens in Sam Mendes’ “Spectre” which also utilizes opera, though in a radically different way than “Quantum of Solace.” The film, as noted in said article was not one of the greatest quality, particularly when compared with the two Bond films immediately before and after it. Not too long ago, we took a look at how “Quantum of Solace” beautifully employed “Tosca” in a key action sequence. This week’s installment features Sam Mendes ’“ Spectre. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. “Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema.
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