On the other hand I’ve seen a few movies who would have been good with other or no music. In those cases the choice was so bad, it really damaged the film. One of those examples is The Killing Fields.
I think one of the problems is whether the score has been composed especially for the film or whether they just added known songs and pieces of music. This can work as well, as we can see in some of the Vietnam movies, but often it doesn’t.
Should a movie not be excellent without music? How important is it? Is there a overuse of music, particularly in US productions?
What do you think?
Let’s find out but share your opinion as well and name some examples in which the music was used especially well or others in which it damaged the movie.
Congratulations Guy. Drop me a line at allaboutwarmovies at gmail dot com.
I have received my review copy yesterday and will be watching it shortly. At 148 minutes it is quite long. Maybe it would have been a worthy candidate for my 12 French war movies list. I’m eager to find out.
Henry of Navarre is out to buy on Blu-ray and 2 disc-DVD on 4th July 2011, courtesy of Showbox Media Group.
We were driving in the car with the radio on when they played Stan Ridgway’s Camouflage. Camouflage is not just a song, it’s a real story. A fascinating story of a young Marine who gets lost in the jungle and is helped by another Marine, a big Marine called Camouflage. It’s really worth listening to the lyrics. While I listened to it, I thought of how often war is a theme in songs. Now, this is a blog on war movies, and so I thought it is fitting to see how many times war isn’t only in the lyrics, like in OMD’s Enola Gay, but how often it’s actually used in the video. How many war-themed music videos are there? One could argue these are mini war movies. I found seven so far, if you know any others, feel free to share. Don’t take it too seriously it’s just a little bit of light Sunday afternoon entertainment.
Which one do you prefer and why? Because of the music or the video?
Some of the links below will redirect you to YouTube.
I am really glad to be able to dedicate this year’s last review to a movie that came out in 2010. I am also glad that the Australian movie Beneath Hill 60 was one of the biggest surprises of this year. After having watched a few more recent war movies like Everyman’s War and Passchendaele my hopes were not too high. I was wrong. This is a thoroughly good movie in which everything is right. The main story, the accuracy, the flashbacks, the actors, the score, the pictures, all together make a great combination. Last but not least the movie is based on a true story that is maybe not universally known but truly amazing. In 1916 Australian miners were digging tunnels beneath the trenches. The worst of those tunnel systems was located beneath Hill 60, in Belgium. The aim was to blow up the whole hill and the trenches around it. The outcome was the biggest explosion ever. It could be heard as far as London and Dublin.
At the beginning of the movie the men around Captain Oliver Woodward are digging in the tunnels beneath the trenches in France. Woodward is a newbie and as such has to prove himself first. Unfortunately he makes a mistake when he doesn’t realize that the sound one of the miners hears isn’t his own heart but digging sounds of the Germans. The movie is full of suspenseful moments when the digging miners have to stop and listen, if there are Germans close by. Whoever gets a chance will blow up parts of the tunnel system and the fight will rage underground. As claustrophobic as it is inside of the earth, it is still more secure than above. Every time the men get out of the tunnels, they see the madness of the war in the trenches, the constant shelling, the mud, the never-ending rain. The young miners can hardly handle to be outside; they are scared to death.
After his initial misjudgment Woodward soon proves to be more than worthy and he and his team achieve one difficult mission after the other, below and above ground. The story in the tunnels is interspersed with flashbacks. We see Woodward in Australia. He is an engineer with a mining company, freshly returned from Papua New Guinea. There is of course a love story but it is far from schmaltzy and just emphasizes Woodward’s character. He is gentle, intelligent, very able and has a great sense of humour. Newer war movies often operate with such flashbacks and mostly they are not successful. The flashbacks disrupt the movie and add a sugar-coating that is hard to swallow. This is not the case here. It’s a great diversion from the rest of the movie that shows mostly very dark scenes in the tunnels. Some of the tunnels are constantly under the threat to be flooded and water is dripping endlessly. A good sound system does come in handy. The sound effects are absolutely brilliant. Honestly, you will check your cupboards, to make sure, they didn’t start leaking.
The camaraderie between these fine men is depicted in a nice way, and every loss is felt by the spectator as well.
As far as setting goes, this is one of the most extreme. The men are in these tunnel systems almost day and night. Anything more claustrophobic is hard to imagine.
I would really urge you to watch this film. It is certainly the best that came out this year, and maybe one of the best of the decade. Australian filmmaking proves once more what it is capable of. The film director knew how to combine a well-told true story with the right amount of emotion. I couldn’t find the tiniest flaw.
Volker Schlöndorff’s The Ogre aka Der Unhold (France/Germany/UK) is based on Michel Tournier’s novel Le Roi des Aulnes aka The Ogre. The Ogre is a highly symbolical, original and complex movie that attempts nothing less than to explore Nazi symbolism and ideology, German culture and mythology by telling the incredible story of Abel Tiffauges, a man who loves children and animals and who makes himself believe he is more than just human. The movie is filmed in English, French and German.
Abel Tiffauge’s story has five very distinct parts. Part I. Childhood. The French boy Abel grows up in a Catholic private school for boys. He is the outsider, the odd one, the one others pick on, the one the priests punish whenever someone has done something. Especially a very fat boy exploits Abel whenever possible. But he is also his only friend. When Abel is wronged again he wishes a catastrophe upon everybody. And it happens. From now on he believes he is invincible and powerful. Part II. Grown-up. Abel is still odd and a loner but he is also an auto mechanic with a flourishing business. Abel is also an amateur photographer and likes to take pictures of kids. There is nothing he loves more than kids. This very innocent fondness is mistaken for child molesting. Instead of being sent to prison, the falsely accused is sent to war. Part III. POW. Abel is captured together with his officers and sent to a German camp, somewhere near the Polish (?) border. During the day when everybody works he sneaks off to an abandoned hut and befriends a moose. One day he meets Goering’s forester. Part IV. Goering. If Goering was anything like the Goering portrayed in this part, then he was one of the most revolting beings to have ever walked this Earth. Abel is to help on his hunting lodge and gets a close look at the way the Nazis and their friends spend their leisure time. Drinking, eating, hunting. Very vulgar. Part V. The Erlking. Abel is sent to Kaltenborn Castle an elite training camp for German boys. He is happy like never before and loves to be able to take care of these boys but he also takes an active part in their training. Soon he starts to collect the boys from the neighbourhood and the people who are afraid of him call him the ogre. He doesn’t realize that he is doing wrong. When the Russians approach and people from concentrations camps are liberated, he starts to understand what he has been part of. He tries to help a Jewish boy and almost gets killed.
So much for the content of The Ogre. But that is only one part. The movie shows us in stunning pictures what it must have been like to face Nazi ideology. The power of the imagines they created by using potent symbols is amazing. The visualization of this ideology is fantastic. Just take a look at the trailer and you see some of it. The boys standing in the form of a giant Swastika holding burning torches in the night. But then there is also the undercurrent of German culture, of everything that was good about Germany and was perverted by the Nazis. The love of the forest, love of animals, children, poetry. Goethe’s famous ballad The Erlking is quoted and put into pictures in a very spooky way. Without knowing this poem a great part of the movie’s meaning stays hidden.
Who’s riding so late through th’ endless wild?
The father ‘t is with his infant child;
He thinks the boy ‘s well off in his arm,
He grasps him tightly, he keeps him warm.
My son, say why are you hiding your face ?
Oh father, the Erlking ‘s coming apace,
The Erlking ‘s here with his train and crown!
My son, the fog moves up and down. –
Be good, my child, come, go with me!
I know nice games, will play them with thee,
And flowers thou ‘It find near by where
I live, pretty dress my mother will give.”
Dear father, oh father, and do you not hear
What th’ Erlking whispers so close to my ear?
Be quiet, do be quiet, my son,
Through leaves the wind is rustling anon.
Do come, my darling, oh come with me!
Good care my daughters will take of thee,
My daughters will dance about thee in a ring,
Will rock thee to sleep and will prettily sing.”
Dear father, oh father, and do you not see
The Erlking’s daughters so near to me?
My son, my son, no one ‘s in our way,
The willows are looking unusually gray.
I love thee, thy beauty I covet and choose,
Be willing, my darling, or force I shall use!
“Dear father, oh father, he seizes my arm!
The Erlking, father, has done me harm.
The father shudders, he darts through the wild;
With agony fill him the groans of his child.
He reached his farm with fear and dread;
The infant son in his arms was dead.
John Malkovich as Abel Tiffauges is astonishing. I think it is one of his best roles. He is such a weird-looking actor and that is perfect for this role. I particularly like the three German actorsHeino Ferch, Armin Müller-Stahl and Gottfried John. But everybody else, especially those many little boys and girls, are very convincing.
For me this is a 5/5 star movie. It has incredible pictures, is dense and complex and invites you to rethink Nazi ideology and symbolism like not many others. It is better than the Boy in the Striped Pyjamas that is for sure. But not as good as Pan’s Labyrinth.