in the end I had more sympathy for him than for Marius Goring's Julian Craster.
Me too.
As a composer in love, he should understand his wife's need to dance,
Yeah. It's interesting how he continually dismisses ballet as an inferior artform--it seems like playful, academic tussling, but considering what happens, one wonders if there wasn't more to it.
But he does not comprehend what drives her, or he chooses to gloss it over.
I generally read him as a snot who thinks he's the centre of the universe. But not a caricature of one--he's still basically likeable at the beginning, and it's rather clever of the Archer's to've contrived the business of his music being stolen, as it puts the audience on his side. It's something that works also as establishing the world of music and ballet, and as something in lieu of any scenes of him and Vicky falling in love. There's a novelisation of the movie, written by Powell and Pressburger in the 1970s, that fills in a lot of the gaps in their relationship--on the Criterion DVD, there's a commentary track of Jeremy Irons reading from the novel that's rather interesting.
Outside of the rules of fairy tales, it's nonsensical that Victoria should have no space between love or art but death
I'm not sure that's true. Maybe it's just because I haven't had any good relationships, but I've always found that I have to choose between relationship and art, I can never have both at the same time. They both demand my full attention, or I feel dizzy. Maybe it's just that I'm bad at multitasking. In any case, I really strongly sympathise with Lermontov on this point.
Perhaps we're meant to take it as a representation of Victoria's perceptions of the experience—
We are--or, I've heard, the intention was to have the scene from the dancers' perspective. Scorsese talks about it in the commentary as an influence on him when he was filming Raging Bull, a movie about a boxer. In the scenes of boxing matches, Scorsese almost always kept the camera in the ring and used minimal lighting for outside the ring--never showing the match from the audience perspective.
And I am very fond of Grischa.
He is great. Moira Shearer tells a few amusing stories about Massine in the commentary, which, as you may have guessed by now, is something I consider well worth listening to.
I see from my profile that I am losing friends-of at a fearsome rate: three or four in the last couple of days. What am I supposed to be talking about?
I wouldn't worry about it. There're some hummingbird-brains around here.
no subject
Me too.
As a composer in love, he should understand his wife's need to dance,
Yeah. It's interesting how he continually dismisses ballet as an inferior artform--it seems like playful, academic tussling, but considering what happens, one wonders if there wasn't more to it.
But he does not comprehend what drives her, or he chooses to gloss it over.
I generally read him as a snot who thinks he's the centre of the universe. But not a caricature of one--he's still basically likeable at the beginning, and it's rather clever of the Archer's to've contrived the business of his music being stolen, as it puts the audience on his side. It's something that works also as establishing the world of music and ballet, and as something in lieu of any scenes of him and Vicky falling in love. There's a novelisation of the movie, written by Powell and Pressburger in the 1970s, that fills in a lot of the gaps in their relationship--on the Criterion DVD, there's a commentary track of Jeremy Irons reading from the novel that's rather interesting.
Outside of the rules of fairy tales, it's nonsensical that Victoria should have no space between love or art but death
I'm not sure that's true. Maybe it's just because I haven't had any good relationships, but I've always found that I have to choose between relationship and art, I can never have both at the same time. They both demand my full attention, or I feel dizzy. Maybe it's just that I'm bad at multitasking. In any case, I really strongly sympathise with Lermontov on this point.
Perhaps we're meant to take it as a representation of Victoria's perceptions of the experience—
We are--or, I've heard, the intention was to have the scene from the dancers' perspective. Scorsese talks about it in the commentary as an influence on him when he was filming Raging Bull, a movie about a boxer. In the scenes of boxing matches, Scorsese almost always kept the camera in the ring and used minimal lighting for outside the ring--never showing the match from the audience perspective.
And I am very fond of Grischa.
He is great. Moira Shearer tells a few amusing stories about Massine in the commentary, which, as you may have guessed by now, is something I consider well worth listening to.
I see from my profile that I am losing friends-of at a fearsome rate: three or four in the last couple of days. What am I supposed to be talking about?
I wouldn't worry about it. There're some hummingbird-brains around here.