Wednesday, September 16, 2009

Legs Itchy After Waxing With Cream

Klaus Schulze: the king of electronic music (10) Klaus Schulze

X
(1978) Brain Records





Program 1

1-Friedrich Nietzsche (24'50) 2-
Georg Trakl (26'04)
3-Frank Herbert (10 ' 51) 4-
Friedemann Bach (18'00)

Program 2

1-Ludwig II von Bayern (28'39)
2-Heinrich von Kleist (29'32)


OF Some consider X as the masterpiece of Klaus Schulze, which expresses that the more luster to his love of classical music. For my part, without denying its intrinsic value, I can not help but remain puzzled by this disc, which shares with other famous double albums ( Tales from Topographic Oceans by Yes, Incantations Mike Oldfield) the same defect: namely, a succession of great moments from the best of his career tarnished unpleasantly long passages vacuum or lack of inspiration are sorely needed. In fact, X would have been a total success if Schulze had redacted half of its content to keep only the essence.

We rambled on about the enigmatic title of this album whose main asset is its polysemy. X can be read as the Roman numeral: in fact, is the tenth solo album by Klaus Schulze. But the title of each track paying tribute to the great names of German literature, X can be interpreted as a symbol of identity.

Before addressing the entrees, which start with angry. If Schulze had to delete everything that is filling, it will get rid of the second and last title of the second slab, the boring and pretentious
Heinrich von Kleist (29'32). It would also better to remove the disk completely missed Frank Herbert who, despite a sequence strongly pulsed, extremely promising beginning to a flying wheel, ultimately does not propose any development which Schulze imperceptible yet secret, as if the composer did not know what to do with this gorgeous initial sequence. Although it takes only ten minutes, this track ends up tired after three to four minutes of inactivity sterile.

Fans of X evoke real emotion and the large symphonic inhabited
Ludwig II von Bayern . How them wrong? This title is an incredible feat. Schulze hard his electronic instruments symphonic sounds of Vangelis those that refer to the rank of the worst gimmicks. Moreover, the dramatic progression is admirable lyricism and majesty. Finally, say that the title owes its reputation, earned in the first ten minutes. The problem is that from there, the inspiration for Schulze collapses and we offer a poisoned chalice: an endless empty hall where his music is stagnating badly. How could he dare to embark on a standstill as sterile after coming on as brilliantly removed? Certainly, after ten minutes of vacuum, the composition of Schulze finally sees the return of his original melody, which gives a feeling of fullness undeniable, but we must not forget that the last eight minutes Ludwig II von Bayern propose nothing more than an identical repetition of the top ten. Shame! I can not, even with the best intentions, consider this title as the masterpiece of reporting. If there is a masterpiece, it does not exceed the first ten minutes. It would have been a masterpiece if Schulze had reduced to ten minutes, but we looks like he is ashamed of pieces not reaching twenty minutes. If we add the duration of these securities, it has been almost an hour of music useless. Fortunately, there are still 68 minutes to justify the enthusiasm of fans of this double album

Friedrich Nietzsche is an entry in the most suitable piece at a time Pulsed fluid and close in the minds of some moments Moondawn. Nothing is to get rid of all to enjoy. In his element as ever, Schulze handily removes the composition without any need force of his talent.
Georg Trakl is a piece of choice among all those he made in the 70s. In the first edition vinyl records from Brain, because of the unusual length of the beaches, they had to drastically reduce this unfortunate title five minutes. There were only introduced, but what intro! Synth notes scattered on a bed of silky percussion that makes the listening very enjoyable. This piece had always seemed too short, so frustrating. So what was my surprise and that of all fans, no doubt, when I finally discovered the full version Georg Trakl of , 26 minutes splendid why I can not thank enough the label SPV, which, with his reproductions of the master, we are full of surprises, it is in my opinion by far the more extraordinary because Georg Trakl finally found its identity, its amplitude, coherence. Schulze cultivated a particularly compelling minimalism with a sequence as it has the secret he explores in great changes of pace and tone to ecstasy itself. This music evokes even the interstellar space, as at the time of Cyborg or Timewind But weaves intimate open to an artist's inner soul. If you have the first edition of X, please make the effort to get it, if only for the pleasure of admiring this title finally revealed in its beauty.

Friedemann Bach , despite its relative simplicity, remains in my opinion the best album title. Monotonous sequence that crosses over 18 minutes, combined with the mellow tones of a violin poisonous atmosphere helps to create a strange, lyrical content, which includes charm disturbing as would a gypsy Liszt Sonata.

to follow ...

Tuesday, September 15, 2009

Aoe 2 How To Resume A Multiplayer Game

16 September to 27 October 2009





















PROGRAM

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HOURS

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Evening serial killers
Thursday, September 24, 2009
In partnership with:
Mediatheque Louis Aragon
and the City of Martigues


6:00 p.m. / Médiathèque Louis Aragon
Documentary Conference and Stephane Bourgoin
Specialist serial killers



French specialist serial killer, who has met with many and studies their behavior and their thinking in order to better combat them. It is also the author of numerous books on the subject.

Website hosted by Stephane Bourgoin and Isabelle Longuet since 2003 and dedicated real-time monitoring of the timeliness of miscellaneous criminals around the world:




20h30 / Jean Renoir film
Aperitif, dedications and Projection
In the presence of Stephane Bourgoin


Psycho Alfred Hitchcock

USA, 1960, 1:49
Starring: Anthony Perkins, Janet Leigh




Psycho thriller fierce, persistent nightmares, is an eminently retina. A black hole that sucks the viewer's eye into a vortex hopeless. Typically, fatality Hitchcock is gearing logic. Here, it is inevitable organic collapses on itself so absurd. The sequence inaugural plunge almost "arbitrary" in the hotel room where Marion Crane and Sam Loomis have ébattus, fixed at the outset that dynamic spiral. The horror
telluric Psycho, magnified by the faithful musical collaboration of Bernard Herrmann, compounded by the gaming power of Anthony Perkins, is also enormously to the benefit of Janet Leigh. Minor actress of the 50s, icy beauty as the Hitchcock liked, she emerges here a magnetic sexuality and ambivalence, but without offering us more than what the situation requires. It has often been said that black magic of the shower scene is the result of a learned emotional cocktail in the viewer, between his desire / pleasure to see heroin naked and terror caused by the surprising burst.
The shower scene, concentrated in 45 seconds, is the fruit of seven shooting days. She would need 70 different shots. It is a festival of subliminal manipulation that devastates the subconscious with its own weapons: horror spectral shearing music, after a nightmare. And we must add, aesthetic virtuosity of each plan, exceptional timing of each effect. Psychosis is not a masterpiece because it is appalling, but because it is frighteningly beautiful.
Marc Autret

Dossier on film:
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"Workers World and Culture

Encounters PROMEMO

( Association Provence, Memory and World Workers)


Thursday 1 st October 6:30 p.m.


Submitted by Robert Mencherini


Buffet (3 euros) - Film - Debate



Toni

Jean Renoir

France, 1934, 1:25

With: Charles Blavette, Jenny Helia, ..


Out with the film studio turned at the time, Toni figure precursor film made of neo-realism. Financed by Marcel Pagnol, Martigues filmed without background music, using as secondary characters and locals, the scenario is also based on a true story, which reinforces its documentary aspect.

Monument Renoir's career, Toni is not yet his most famous film. Back on a masterpiece.

When he realizes Toni in 1934, Jean Renoir dixit itself undergoes a phase of extreme realism. One of those recurring periods in his biography where only subtle seams real important to him. After several business failures in which he suffered multiple setbacks with producers and distributors, Renoir, just to recharge, invests the south of France and plateaus of his friend Marcel Pagnol who just finished Angela. Renoir picnic to the creator of Marius part of its technical team, some of his players and chose to film a truly sordid news story: the story of a murder committed by a woman unhappily married to a foreman Verreux. But what is primarily interested in Renoir's Toni, is painting a mixed environment that Martigues, Provence where immigrants from southern Europe came to try their luck. The film exudes a familiarity with the place and its inhabitants, without having to talk about beyond measure "real life that feeds the shooting."

Toni rital Aboriginal wife Mary, but it likes to tear the heart Josepha the Spaniard. Renoir browses the way and not really addressing the structural melodramatic script only half the film before, temporal ellipses of rare for modern times have wound up with merciless rigor romance doomed by social determinism . For Renoir, that season, the key is elsewhere.


He needs such men shoot on the way to work, listen with your eyes the wind caress the scrubland, everything is going to pan, just to set the framework the moving spectacle of nature ... This scrupulous attention to minute variations of the real and obvious love for the working class was born the legend Toni justified, "film precursor of Neorealism." In fact apart Grémillon we hardly find any trace in the cinema franchouillard prewar such a manic desire to record for best transcend the spectacle of objective reality.

But if Toni remains an absolutely remarkable film is also compared to Renoir. Echoing the reasons already at work in previous films jealousy fishwife and murder recall The Bitch, love the banter and some secondary characters refer to Boudu, Renoir concocted in mixtures of formal Toni who will feed his great films to come: the movement of the train that the circular structure of fiction will be included in The Human Beast, the camera moves after the players in the maze of nature Announce Party campaign and work on ladders plan anticipates the finale of The Grand Illusion ...

Film historically very significant and fundamental to the practice of the filmmaker in the 30's, Toni, like all Renoir recalled silly string lacks yet never the clothes of the great work intimidating. Here, everything is as simple as a handshake fraternal and transparent as the light-drenched Provençal sun. Nothing but trivial magnified by the staging. More than ever, Renoir endorsed the award of Flaubert on literary practice: "Being present everywhere but visible nowhere." Like the great Gustavus, arabesques of John the boss means inimitable art of love of reality.

O. de Bruyn










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Eastwood in three films






The High Plains Drifter

With: Clint Eastwood, Verna Bloom, Marianna Hill


Death Wish magnet use the whip back in revenge for the population of a city.
Produced by his company, Malpaso -, directed by and starring Clint Eastwood's High Plains Drifter is a fascinating film copyright. Become his own director and signing for the first time a Western, Eastwood begins by referring to the works of Sergio Leone to help get rid of this cumbersome analogy. The stranger who arrives in Lago, taciturn, sniper and unshaven, like the characters priori Eastwood played under the direction of Italian director. The resemblance ends there, and Eastwood leaves carefully cast doubt on the identity of the rider alone. Is he the brother of Duncan? Is it the ghost of the latter, who, having cursed the inhabitants of Lago, returns to avenge them? Is the angel of death himself came to Lago to remind everyone's responsibility in the murder of Duncan? [Unlike the original, more ambiguous, the French version states, in the end, the FJ is the brother of Sheriff Duncan]. Lago is also itself a strange city. Eastwood was built by fifty-six workers during eighteen days on the shores of Mono Lake, in northern California
a lake renowned for its water ten times saltier than the sea of actors and technicians have lived through the shooting at the edge of the lake, carrying out strictly following the script, which ends with the burning of the Most houses in the city. Hence the obligation to stage in continuity.

The arrival of the Stranger will change the habits of this small town whose population is composed only of adults - we do not see children - linked together by a collective criminal responsibility. Violating the one that caused, affecting an attitude of weary face Belding's wife, the Stranger will humiliate the people he despises, without stripping them they can say anything and doing their scapegoat dwarf the sheriff of the place. As if the will of the destroying angel was not obvious enough, it will force them to paint their town red, the naming itself "Hell". Having killed his opponents whipping, hanging and Pistol, the Stranger will leave as he came in a mysterious halo. The unmarked grave in which lies the tortured body of Sheriff Duncan has a name ...
Playing both original sets - Every wall of every house in Lugo could be moved as required by the shooting - on the beauty of photography of Bruce Surtees, also adept at highlighting the red flames of the houses that destroy the purpose and Music - intentionally and falsely inspired by Ennio Morricone,
Eastwood handles the humor and derision (the promotion of dialogue between dwarf and abroad and Mrs. Belding demonstrated), and fear the rise of violence, without ever wallow in it, always justified and necessary. Rewriting the subject in its own way - the train whistle three times - of man alone, betrayed by a city and facing powerless, yet alone, in the off-the-law he wanted, the future filmmaker turns Pale Rider here the most troubling parable, a parable whose history s 'inscribed in red blood.
Patrick Brion.





Perfect World

1993, 2:15

With: Clint Eastwood, Kevin Kostner



During the kidnapping of a young boy by two escaped, one of two men discovered a fiber paternal.
is the story of a guy who was perfect in special education, but lack of pot life has been an offender. There is another guy who thinks he is a vigilante who is unalterable and a sheriff existential disarray. It is a police officer who gives birth to a melodrama about the painful and impossible filiation between males. Clint Eastwood became melancholy and sentimental, old age is the time it takes to make an accurate assessment of his mistakes. This Perfect World (1993) works as a mea culpa, critical look at its own character and causes espoused since Dirty Harry.

It is 1963, shortly before the assassination of JFK. A prisoner (Kevin Costner, very very good) escapes and takes a boy hostage. Eastwood, face weathered by age and bitterness, his eyes more and more depressed and distant, as caught by doubt, is conducting a manhunt that appears increasingly absurd, for n 'have no place. The child is in fact not in danger. The assumed gross and the innocent are found as father and son hand, lack of brothers anyway. The leak, in this case the protected area of a stolen car launched between past and future (the stops are dangerous, this is prohibited), their therapy is urgent, a daydream in the teeth of reality. Road movie, crazy vehicles (mobile home high tech bulky), repulsion / attraction between a macho and a female intelligent eastwoodienne detestation for boors of all kinds and unfathomable desire for redemption, neoclassicism attractive packaging is known. The trick here is an idea that the narrative structure and has both the virtues and the meaning of poetry. The confrontation between fugitives and pursuers is so remote it is ousted. Thus depriving themselves of any means to act, its sheriff shuts Eastwood an impotence which is about the film. It was easy to be a great avenger and inaccessible, it's another thing to protect kids two freewheel, so abandoned as they are stolen. this moral reckoning with himself and with the fucking American dream, the filmmaker filming only as a codicil stealth, but it is the issue that hovers over a perfect world and to remain so quiet until at outcome, gives the film its gentle weightlessness and allows them to welcome death as a new spring.
Isabelle Potel










Million Dollar Baby

2004, 2:12

With: Clint Eastwood, Hilary Swank, Morgan Freeman


boxing coach Frankie Dunn is back in action when the young Maggie Fitzgerald pushes the door of his gym.

Here is a great American story, a dark meditation, an elegy dry twilight where the lyricism seems to produce the thought that lies behind. Like all great American film, is essentially an action film or, more exactly, a film about the action, like any fiction Hollywood now knows who legatee of an inheritance and memory and which must both incorporate the weight of history and witness a present undecided. Is not this always been the project director Eastwood: find a lost unity, merge classicism and modernity, purifies and mannerism?
Million Dollar Baby is needed very quickly as one of the vertices of a work made many short films that ambitious projects. We witness the miraculous synthesis of history and mythology, the perfect symbiosis between the bottom (a very nice script by Paul Haggis from news of FX Toole) and shape, whose contours are blurred respective superbly.
is a voiceover that opens the story and comment regularly, that of a narrator who rubs shoulders with the real main character, which one can say he shows great reluctance to get himself fully into the film. This voice is that of overhanging Eddie (Morgan Freeman), a former boxer became the handyman and friend of coach Frankie Dunn (Clint Eastwood), the reluctant hero. It tries to train future champions in his gym. There is an irrational caution: Frankie hesitated so long to hire a boxer in a championship he was stung by the most skilled business manager than him.

PASSING OF A SELF
The two men have so much of their lives behind them, at least they pretend to live with it. They no longer feel the tremors at a distance of a sport here transformed into a veritable metaphor for the action, as the vital principle and aesthetics, as a way to change his environment and to affirm its existence. Until Maggie makes irruption in Frankie lives. This meeting is straining the isolation and inertia of a man who spends his time reading poems by Yeats and trying to learn Gaelic. Maggie trains in his room and harassment to become his coach in an attempt to transcend its own condition. Now Dunn is reluctant as he feared that the stock price, who knows the burden of liberty, fearing that doing so is "being done". It objectively aging hero of a film by John Ford (a contemplative who does everything to avoid doing) to become one convicted of a Howard Hawks film (a technician who would know to serve a functionalism effective gestures and behaviors). Because the decision to lead the young woman will force the man to shoulder the responsibilities of his decision.
Million Dollar Baby is the first story of an apprenticeship, a transmission, also a filial relationship of substitution which gives the story an inevitable key psychological (Dunn became angry, many years ago, with his own daughter and he sends weekly letters that are inevitably returned). That is, a priori, a static diagram, that of a quest for victory, a transcendence according to the precepts of the same fiction Hollywood individualism, which seems to apply. Yet here, the path premeditated things, the laws of a story all the more determined he has taken his time to deploy (Maggie finally confronts an opponent for the world championship in Las Vegas) will experience a turning point sudden and unexpected. The disaster therefore questions the choice and consequences, action and danger, chance and moral responsibility. The melodramatic twist that is now tearing the film comes together, well beyond the vain concerns about the porosity of genres, the very nature of what is really exist a film character.

act, the hero of Million Dollar Baby, throw it in the world and expose it to light his young gifted boxing. The chiaroscuro contrasts and cut and carve the faces of the protagonists regularly remind us that the films Eastwood is constantly haunted by the prospect of a disappearance of the human face. This is the consequence of an inability to maintain the old stories. It is also an expression of anguish in the face of the obvious: there is no choice but action.
It has always been the driving force of American cinema, which has nurtured his mythological dimension as much as what determined the aesthetic model that has imposed the world. It certainly has been the subject of questioning when a certain modernity has touched Hollywood, but it remains the essential principle of fiction. It is in the action that the American hero is beyond any contingency. The film returns to Fitzgerald's phrase, quoted also highlighted by Bird, his biography of Charlie Parker, that "there is no second chance for an American hero." The main character in Million Dollar Baby experimenting with stoicism and resignation almost sublime metaphysical imperative, that of an "everything must be accomplished" religious confirms that this is absolutely obvious: for an American hero, be it done and do is be. Jean-François
Raug

























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