Fritz Scheel, the first conductor of the Philadelphia Orchestra was himself previously a Concertmaster2.
Mandy While I certainly consider the s to be one of the best decades for music and regard many films, ranging from Rainer Werner Fassbinder's swansong Querelle to Tim Hunter's River's Edgefrom the same era as being among my personal favorites, I have become increasingly disgusted with the entire nostalgia culture trend as is probably most popularly epitomized by the obscenely overrated Netflix series Stranger Things.
A degradingly derivative, conspicuously contrived, and politically correct Spielbergian pseudo-artistic con featuring gay little racially ambiguous boys as heroes and a mostly mute baby dyke as a heroine, the preposterously popular show, not unlike the films of sub human turd Tarantino, indubitably reveals more about the artistic and cultural bankruptcy of our age than its actual true worth as popular entertainment.
Indeed, I do not think it is an exaggeration to say that, for better or worse, there is more originality, creativity, and humanity in a single episode of the original Twilight Zone or The Outer Limits than all of the episodes of Stranger Things combined, but I digress. Undoubtedly, it is a symptomatic of our spiritually sick and soulless age that people look to the Reaganite s—a mostly materialistic age when most movies were mostly nothing more than mindless entertainment—as a means to calm metaphysical afflictions like Weltschmerz and Sehnsucht, but, of course, it is not all that surprising considering we live in a decidedly deracinated consumerist age where the only frame of reference for the past is in spiritually and culturally hollow Hollywood form.
Personally, I find most of these nostalgia fetish pieces annoying specifically because they express virtual swooning adoration for the very same sort of lowbrow entertainment products that lead to such spiritual emptiness in the first place, as a Spielberg or George Lucas movie is surely not going to provide one with the same sort of cultural or spiritual nourishment that traditional religions, families, and societies once provided people.
In short, these frivolous filmic products are narcotizing poison disguised as the cure. Although Cosmatos has only directed two features, he demonstrated with his very first feature Beyond the Black Rainbow an inordinate maturity in terms of both aesthetic vision and worldview.
Indeed, as the young auteur has An essay on the ninth symphony of ludwig van beethoven in various interviews, the film is partly a critique of the spiritually degeneracy of the Baby Boomer generation and how they foolishly experimented with dubious forms of occultism while high on psychedelics.
In his latest and greatest film, MandyCosmatos not only expands on his anti-Boomer sentiments, but also demonstrates a further aesthetic refinement that ultimately reveals that the auteur is one of the most interesting filmmakers working today.
Cosmatos, who of course is best known for Hollywood genre exercises, including the Sylvester Stallone vehicles Rambo: Indeed, it would be easy to accuse Cosmatos of nepotism but—aside from the fact that he did not direct his first feature until about half a decade after his father had died—this fat, swarthy, and goofy-looking fellow has clearly already paid his dues in terms of dedicating his life to the art of cinema and, unlike Brandon Cronenberg, he does not even seem remotely interested in parroting the auteur themes of his padre.
While the film stars Mr. Meme Nicholas Cage as the lead, Mandy is clearly not the work of a simple artisan looking to support his family but an enterprising and seemingly somewhat troubled artiste that has a somewhat aesthetically schizophrenic affinity for both total trash and high-art.
In other words, Cosmatos clearly made the film for himself, but luckily he has good enough taste to make films that appeal to slightly more people than just a marginal group of introverted autists.
And my favorite subject for a film. Just like his previous feature Beyond the Black Rainbow, the films is set in as if to hint that it is the foreboding penultimate year just before the Orwellian nightmare begins, or so one would surely assume upon watching the films.
Indeed, while Mandy might share various aesthetic similarities with films from the same decade when it is set, the film is sometimes as dark and dejecting as the most miserable works of German Expressionism despite paying homage to films as dumb and benign as Friday the 13th and Phantasm II Undoubtedly, the fiercely phantasmagorical film is like a reworking of the Orpheus and Eurydice myth as meant to appeal to stupid horror fans that are not even familiar with said myth; or so one would assume if one actually believed that the average My Sweet Satan-esque metal head could stomach something even remotely like an art film.
In fact, Mandy is one of the very few films that, in terms of influences and message, I would describe as a true white proletarian art film, though it is surely a cinematic work that most people seem to either love or love to hate.
As for me, I was shocked that I could thoroughly enjoy a film that features stupid pointless heavy metal fonts for similarly seemingly pointless chapter title sequences, but I take what I can get.
To some degree, the film is the cinematic equivalent of junk food and the sort of flick that provides a sort of childlike escapism, yet it does provide a tinge of spiritual nourishment and righteous romantic justice that similar films are quite lacking.
In short, the film contains very little, if any, culturally syphilitic poz, which is certainly no small accomplishment considering the current cultural climate. Likewise, the animation feels the bastard mongrel broad of characters from the esoteric erotic Japanese animated feature Belladonna of Sadness directed by Eiichi Yamamoto and the Canadian cult sci-fi-fantasy Heavy Metal As for the beauteously foreboding forest depicted in the film, it falls somewhere between the more mystical German Heimat films and the first two The Evil Dead films.
Luckily, the film is greater than the sum of its seemingly absurdly combined hodgepodge of parts. In that sense, Cosmatos is somewhat like Nicolas Winding Refn sans the obnoxious autism. And this is a movie that we hope will provide comfort, which is a funny thing to say about a film that is such a dark journey.
Indeed, it is not until the titular heroine is brutally murder by a Jesus cult that we truly realize how powerful their love is, at least for the male protagonist who carries out a savagely sadistic scorched-earth policy against the culprits. The story of Mandy is deceptively simple: Simple man lives a simple happy life with his beloved girlfriend; hippie Jesus cult ruins man's life by kidnapping and murdering his girlfriend; destroyed simple man then dedicates his destroyed life to vengefully destroying every single member of the hippie cult.
Of course, the film is more of an aesthetic journey than a narratively complex Kubrickian tale. As hinted in the film, both characters come from rough traumatic backgrounds yet they have managed to find a special sort of happiness due to their strong love for one another.
Even before she is killed, it is clear that Mandy is probably the only thing keeping Red from being a miserable mess. A somewhat hard bitch that had a traumatic upbringing among other things, her father apparently taught her and other kids at a very young age how to mindlessly slaughter baby starlingsMandy does not let a large dose of LSD stop her from completely humiliating and emasculating Jeremiah—an unequivocal god and legend in his own mind—when he bares both his naked body and soul to her and attempts to ply her with pathetic pseudo-poetic compliments in front of all of his followers.
While presenting himself as a virtual god in mere mortal form, Mandy literally laughs in Jeremiah's face while his flaccid pecker is hanging out in what proves to be an especially unnerving moment of the film. Needless to say, the self-stylized quasi-Gnostic cult is no match for the most broken-hearted of backwoods bros.
He took a disliking to them and cooked them up a special batch, and they have never been right in the head since. I seen them once from a distance. But you know what the freakiest part was?seven disc (six CDs + DVD) set. Christian Thielemann and the Vienna Philharmonic devoted an entire concert series in Vienna's famous Golden Hall between and to the complete symphonies of Ludwig van Beethoven.
First Movement of Beethoven's Symphony No. 3 Essay Words | 2 Pages. movement of Beethoven's symphony No. 3 Eroica Beethoven's Symphony No.3 also known as the Eroica consists of four parts, namely, allegro con brio, adagio assai, scherzo and allegro, which is the standard structure of a symphony.
The ethereal, monumental, and triumphant emotion reflected in the Ninth Symphony is surprising given the energetic humor of Symphony No.
1, the worrying “fate knocking on the door” opening of Symphony No. 5, the pastoral reflection in Symphony No.
6. Beethoven’s Symphony No. 9 is truly is among the greatest achievements of the . Ludwig van Beethoven Essay Words | 4 Pages. music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music.
This new music had full rich sounds created by the new construction of the symphony orchestra. Despite the fact that he unfortunately had nil involvement in the actual directing of the film, screenwriter S.
Craig Zahler—a relative novice that has demonstrated with only a handful of films that he is one of the best genre filmmakers working today—probably deserves the most credit for the spirit and overall positive qualities of the film.
Attending a Performance of the Ottawa Symphony Orchestra - The performance that I attended was of the Ottawa Symphony Orchestra playing the Overture to The creatures of Prometheus, by Beethoven, the Concerto for Orchestra by Kodaly, and Harold in Italy, by Berlioz.