Tema: [Juego] Adivina la banda sonora

Iniciado por Tripley

Casi casi



Saludos

...

¿Ninguna idea ..?

Iniciado por Jane Olsen

¿Ninguna idea ..?

Pues no, últimamente no reconozco nada de lo que se plantea en el juego.

Saludos

Cita

[QUOTE=Tripley;3814000]

Casi casi





Así éramos Tripley y yo de bebés, sospecho:

es lo que tiene leer tanto a James

Saludos

A ver, como no me voy a poder conectar en unos días, pongo la solución en spoiler. No vale mirar a menos que estéis seguros. Y ya he dado bastantes pistas. Hemos hablado de la producción hace poco. Mundos chungos. Gente perdida por ésos universos de Zeus (digo de Dios)...

Spoiler:

Atención al modo claustrofóbico y angustiado en que empieza el episodio, con esa voz en off pidiendo ayuda deseseperadamente . Esto habla mucho del tono de la serie.

Anda que... ya me vale.

Iniciado por Tripley

Casi casi



Saludos

"Y cual moderno Moisés, el joven Tripley allí donde pisaba veía como se separaban las aguas....."

Por la pista de Zeus y de aquello "de que estuvimos hablando hace poco de ello", ha de ser la del melenudo y barbudo Ulises 31.

Ha estado bien lo de los ositos azules, casi me dan ganas por ponerme uno de avatar

Pues con las barbas que gasto últimamente (es lo que tiene encarnar a John Proctor) es verdad que no desentonaría en una producción bíblica

Spoiler:

Saludos

Actualizado casi de inmediato con este carismático temazo.

¿Quién lo dirá primero?

https://audioboom.com/boos/4623772-alas

Me suena muchísimo, pero ahora no caigo del todo.

¿Puede ser El aviador de Shore?

Saludos

Con la venia de Otto+, nueva propuesta:

https://audioboom.com/boos/4624964-?t=0

(Por cierto, qué fácil me parece esta nueva aplicación que estamos empezando a usar)

Saludos

A lo mejor me he pasado un pelín de original al dar la respuesta por válida de esa manera
El mérito de descubrir AudioBoom recae sobre El Gran Akákievich, cuya leyenda no deja de crecer

Es "Los últimos juegos prohibidos", (The Nightcomers, 1972, Michael Winner), film de atmósfera enrarecida y turbadora protagonizado por un excéntrico jardinero de la campiña inglesa llamado Marlon Brando, cuyo personaje en el film se lapellida igual que el de Robert Shaw en "Tiburón". El autor de la música, Jerry Fielding, me ha ido hechizando en esta última media docena de años como pocos. Puede llegar a ser un autor bastante durillo en su escucha aislada. Esta es una de su grandes partituras; aires barrocos para nada reñidos con el que es su sello característico, pasajes sombríos y húmedos que resultan verdaderas telarañas emocionales musicales de lo intrincadas que se sienten. Un compositor que llegó tarde a desempeñar un papel relevante en Hollywood por causas políticas, la Caza de Brujas, y que cuando lo consiguió, sobre todo en los 70', mereció una acreditación más notable en virtud a su muy personal visión del medio. Debió ser una persona de fuerte carácter, para redondear su historia particular.
Falleció joven.

Es un episodio interesante el tema de los compositores cinematográficos aquejados de persecución o vigilancia por posible seguimiento de ideas izquierdistas durante la epoca del macartismo en cuanto a que no se ha hecho mucho eco de ello, no así con el mucho más aireado panorama actoral-realizadores-guionistas de la época.


Lukas Kendall de FSM (Film Score Monthly):

Film composers were, in general, seldom pursued by HUAC as they were too low on the totem pole to be useful politically, and it was also not so easy, unlike with writers or even lyricists, to attribute leftist content to the relatively abstract art of music. However --

Jerry Fielding was blacklisted when he was Groucho Marx's musical director (* en un programa de TV que presentaba el cómico) and dragged into the fray in an attempt to "get" Groucho. Fielding refused to cooperate and basically lost his thirties to the blacklist, going to Vegas to be a bandleader. And yes, he bore a grudge.

George Bassman (* "El cartero siempre llama dos veces", 1946; "Duelo en la alta sierra", 1962) was blacklisted when he and his wife were named by somebody else.

Sol Kaplan (* "El espía que vino del frío", 1965) was blacklisted after being named as a "friend" by actor John Garfield, getting fired by Fox and scoring a movie made entirely by blacklisted talent, Salt of the Earth. See info about this online (IMDB, wiki), it's pretty interesting. Kaplan's feature career came back thanks to Carl Foreman (* guionista también comprometido de "Sólo ante el peligro") with "The Victors" (1963) which we released on CD.

Alex North was possibly pursued by the committee but never called to testify. There are a few paragraphs in "Alex North, Film Composer" by Sanya Shoilevska Henderson about this. North had actually been a communist party member earlier in life (though not politically active) and had studied in the Soviet Union and maintained a few related ties. North and his family traveled often during the period (living for a time in the Connecticut woods) in part to dodge a possible subpoena. Also in Henderson's book is info as to how Elia Kazan had famously named names and this completely ended North's relationship with the director; according to Henderson, North never spoke to Kazan again.

David Raksin (* "Laura", 1944; "Cautivos del mal" 1952) testified but tried to split the difference by only naming names already known to the committee. The complete story is in Marilee Bradford's liner notes for our 5CD set, David Raksin at M-G-M (not part of the online notes). He had a little hiccup in his career but basically survived.

And Elmer Bernstein was "greylisted" as he explains in that link that was kindly provided above, but survived in large part due to the timing and working for Cecil B. DeMille at the time.

There is a chapter in Gary Marmorstein's "Hollywood Rhapsody" about the blacklist with some additional information. Hanns Eisler was deported as a Communist and sent to East Germany, but I don't think there are any other major composing figures who were connected to the blacklist. It's pretty easy to spot though, if you look at someone's career coming to a dead stop circa 1953, that's why. (Unless they died.)"

-----------------------------------------------------------------

Cómo mola la arqueología cinematográfica, en general todo tipo de arqueología o legado histórico de la humanidad, sea bueno o malo. Es el saber de dónde venimos para tratar de corregir o ahuyentar futuros devaneos parecidos (que acaban resurgiendo más veces de las que debiera aunque sea con una buena capa de maquillaje ).
En este aspecto, circunstancias extraordianrias, escabrosas y/o anómalas, la cinematografía USA es mucho más absorbente que cualquier otra.

Otto, efectivamente se trata de esa BSO de Fielding, perdón por el retraso en contestar.

No sabía nada del tema de la caza de brujas relativa a los compositores cinematográficos. Gracias por los comentarios

Tu turno

Saludos

Gracias, Tripley.

Motor, cámara y... ¡Acción!: https://audioboom.com/boos/4627379-track

Así me gusta, manteniendo el nivel cuando yo no puedo postear. .


Bravo, Otto+


En este aspecto, circunstancias extraordianrias, escabrosas y/o anómalas, la cinematografía USA es mucho más absorbente que cualquier otra.



Salvo quizá, la soviética durante la tiranía estalinista, aunque que duda cabe que lo de EE.UU es mucho más escalofriante al tratarse de una democracia.

Pista: compositora. El realizador del film vuelve este año tras un parón extenso de tiempo con ganas de dar guerra. Ha estado de actualidad recientemente.

Iniciado por Branagh/Doyle

Así me gusta, manteniendo el nivel cuando yo no puedo postear. .


Bravo, Otto+


En este aspecto, circunstancias extraordianrias, escabrosas y/o anómalas, la cinematografía USA es mucho más absorbente que cualquier otra.



Salvo quizá, la soviética durante la tiranía estalinista, aunque que duda cabe que lo de EE.UU es mucho más escalofriante al tratarse de una democracia.

Lo resumió muy bien Paul Newman en una cita muy escueta que proclamaba la certeza de que "EEUU podía ser un un lugar violento, despiadado y narcisista, pero que era una realidad demasiado interesante como para no involucrarse"

Obviamente, pongo énfasis en el modelo socioeconómico "made in Hollywood" exportado hasta nuestros días con la intención de llegar hasta el último rincón del planeta y del que han emanado valores como: ideología, propaganda, fama, culto al dinero, poder, reputación, sexo; valores representativos y en perpétuo desarrollo (hasta el punto de influír en nuestras vidas de forma "asfixiante") a lo largo del siglo XX, con el agravante de que durante algunas décadas Hollywood fue un modelo tan blindado con tendencia al castigo silencioso y al pensamiento único, incluyendo contratos extenuantes o "fontanería" a la hora de diseñar vidas ajenas, que resuelve un montón de biografías llenas de contradicciones, cuando no penurias, fraguadas en sus páginas. El hecho de que en el período de entreguerras "adoptara" a cientos de científicos, intelectuales y artistas procedentes del polvorín europeo para enriqucer el panorama cultural del país resulta ser la guinda del pastel para coronarse como "festín de hemerotecas" y guía para entender el pasado siglo.

Ya he conocido en otros foros a personas que evitaban en la medida de lo posible ver cine norteamericano, apuestas personales redobladas en aquel etiquetado como "comercial", precisamente por animadversión hacia el modelo global impuesto por su dominio.

---------------------------------------------------------------------------------

En FSM han reseñado un artículo revelador acerca de las últimas décadas de John Barry como compositor cinematográfico que podría venir a iluminar los dilemas a los que se enfrentaron personas como él, veteranos y envejecidos, en un medio que seguramente había cambiado conforme a como lo era durante sus comienzos. Además, focaliza algunos hechos aportando detalles sobre aspectos que ya se conocían pero de los que faltaban información. Todo recolectado a partir de las propias vivencias de Richard Kraft, que, ha sido y es, mánager y agente de un montón de compositores cinematográficos en los últimos 30 años, fallecidos y en activo.


"My father bought my brother and me the soundtrack to THUNDERBALL. For days on end we would chase each other around the house scoring our escapades to Barry's brash music.

We felt excited. But, more importantly, we felt cool.

Looking back at his contribution, one realizes that he wasn’t really scoring the action on the screen. He was commenting on the attitude of the character of Bond.

Back in those days, the James Bond films were reissued on double and triple bills on a regular basis. My quest to catch up on the Bond saga was quickly satisfied as I became a young authority on the series and their scores.

I hadn't met John Barry. He was just a cool looking guy on the back of his albums dripping with London mod swagger.

Those albums were from a wide range of films including great ones (MIDNIGHT COWBOY, THE LION IN WINTER, BODY HEAT) and stinkers (HOWARD THE DUCK, THE BLACK HOLE, THE GOLDEN CHILD). But regardless of the quality of the movies, the music was always expressive and strong.

PEGGY SUE GOT MARRIED was my first opportunity to work directly with John. I was releasing that score for Varese Sarabande which I was running at the time.

When he called me to discuss the sequence, I found myself trembling.

I had now worked with lots of big composers. But none were John Barry. None were the guy who scored Bond. None were the guy who understood with his music what I was feeling when I was feeling melancholy.

There was a cue on that album that still destroys me, "Peggy Sue's Homecoming." A perfect example of aching with a sadness that was both tragic and oddly optimistic.

A while later I left Varese to become a full-time agent where one of my biggest efforts was to land Basil Poledouris the plum job of scoring DANCES WITH WOLVES. Eventually, Basil quit the film and John Barry replaced him.

I remember going to the opening night of the film with such mixed feelings. I really loved Basil and secretly wanted this score to be a disaster. On the other hand, it was John Barry.

Any thoughts I had of dissing the score melted away as soon as Barry's score swept over me like a warm, comforting blanket. Instead of getting caught up in the various details of the film, he applied a few bold, straight, and direct melodies that served as a quilt transcending the differences between the cultures of the characters. Barry’s music was about an idea. A big, noble idea that was about much more than one man’s journey or even one tribe’s experience. He dug within himself and found something much more profound and universal to bring to his score.

A while after DANCES I started talking with John and his wife who were impressed with the success I was having with some of my clients. This eventually lead to the opportunity to represent him. For my whole life he was the elusive idol and now he was a client.

The best way to describe my working relationship with John Barry is to picture the film MY FAVORITE YEAR with me as the young, idealistic, self-appointed caregiver chasing behind his idol (played by Peter O'Toole), the older, passionate, suave British charmer who was wrestling with his own demons.

It certainly was a colorful time. And a very challenging one, too.

John Barry already had a reputation of quitting films THE BODYGUARD and THE PRINCE OF TIDES. But I was going to fix all that!

I remember trying forever to get John on the Paul Newman film, TWILIGHT for producer Scott Rudin. After visiting the set and pounding away, Rudin finally called to hire him.

"Um, I'm so sorry," I squirmed. "But I just signed him for another film for Roland Joffe last week."

Rudin was not pleased.

"If you don't deliver John Barry by tomorrow, I'm going to kill you, sue you and make all of your clients leave you."

I simply replied, "If you do it in that order I won't notice the last two."

"Very funny," he retorted before slamming down the phone.

Rudin carried out none of his three threats and a month or so later, John Barry found himself clashing with and being removed from Joffe's GOODBYE LOVER.

Sheepishly, I called Rudin to inform him Barry was now suddenly available for his film.

"I'd rather whistle the score myself."

"You've got to give me credit for asking" I responded.

"True," conceded Rudin. "Who else you got?"

"How about Elmer Bernstein?"

"Deal."

While it was great for Elmer, I still craved bringing something special to Barry.

One of my personal goals was to reunite John Barry into the James Bond series.

There was a lot of old history between Barry and the Bond folks and I felt I might be helpful in bringing a fresh approach into it without being burdened by all the prior baggage.

After a lot of back and forth they ended up offering him TOMORROW NEVER DIES. I could not have been more thrilled.

However, things got really wonky during the negotiations with neither side agreeing over his fee with the difference being relatively minor. Both sides dug in their heels.

MGM said they were moving on without him.

I felt like I was the worst agent in the history of show biz. I was fumbling having John Barry score another James Bond film. This was unacceptable. As John's agent I couldn't let that happen. As a Bond music fan, I would kill me if I didn't find a way to pull this off.

On Christmas Eve, with holiday music playing in the background (including Barry's "Do You Know How Christmas Trees are Grown") I decided something had to be done to fix it all and give it a perfect holiday ending.

So, I left word with the producer saying how important it was to me, as a fan, to have John score the film. I realized that the amount separating John and MGM was exactly the same amount as my commission would have been on this film. In the spirit of Christmas and of wanting this to happen so badly, I offered to give my commission over to the studio so they could then use it to make John the offer he wanted.

The only condition was that they could never tell him. I needed him to think the extra money had come from them.

After leaving that message I sent to bed with dreams of The Great Barry/Bond Reunion dancing in my head.

The day after Christmas I got the call from the studio's music department.

"Are you trying to bribe us with kickbacks?"

I was stunned. I quickly explained my sincere intentions to do right by everyone.

She said they refused to pay John any more under any conditions and they were moving on.

I had clearly stepped into a vast quagmire of issues and people and history and personalities that predated me by decades.

I had failed.

Though he acted dismissive and a bit resigned to these setbacks, I couldn't help but think how deeply they must have stung.

Before ever meeting me, John Barry had won five Oscars. When I would visit him in his gorgeous home in Oyster Bay, N.Y. I would stare at those five statues determined to win him a sixth. I decided Robert Redford's THE HORSE WHISPER was going to be it.

Hired before they even started shooting, Barry took it upon himself to start composing themes.

He recorded them and sent them off to Redford who had just commenced remote location photography.

Every day Barry would check in to inquire about Redford's response.

I kept explaining that Redford was shooting up in the mountains and just hadn't had a chance to listen.

Barry was a very sensitive man. With each passing day he grew more and more hurt and frustrated.

I felt impotent in fixing the situation.

By the time Redford could attend to the music, Barry was too raw to take his input. Much to my horror, it all fell apart.

John and I did do a few films together such as MERCURY RISING and PLAYING BY HEART. But, even on those he did not completely cross the finish line as other composers were brought in to replace some of his cues.

My last attempt at Barry glory came with a call from Brad Bird about his new film, THE INCREDIBLES.

Bird wanted a classic Barry/Bond score. The two of us nerded out imagining how cool it would be if Barry wanted to really tap back into that side of himself.

We talked about tracking down the same mics, amps and guitars Barry had used back in the 60s.

Barry and Bird hit it off and John was onboard for a huge Pixar animated film.

John and I flew to San Francisco for his first presentation of themes. I begged to hear them. John pulled out his Walkman and hit play.

It was one slow, melancholy piece after another.

"Where's the Bond action music?"

Barry said he could write that in his sleep, that the real nut to crack was capturing the midlife angst of the superhero dad.

I wasn't too convinced.

The next day I got the call from Brad Bird.

"Well, that was interesting. But I sure would like to hear some action music."

To encourage that he sent Barry a storyboarded sequence of the the character of Dash being frantically chased.

Barry had never worked in animation. He was accustomed to working on final footage, not pencil tests and CGI roughs. The process grew frustrating for him and he wanted to quit the film. I begged him not to.

Brad was determined to make the best of the situation.

He suggested using Barry just to write some key themes and he would hire this young kid Michael Giacchino to adapt them into a score.

I negotiated a new deal, and Barry turned in a new batch of themes... all of them slow and none of them Bondian.

I was sure Bird was going to fire him. But Brad desperately wanted John to succeed and so did I. We were two fanboys who wanted our hero to soar again.

So we brainstormed and hatched a plan.

Brad had temp tracked the teaser for THE INCREDIBLES using Barry's score to ON HER MAJESTY'S SECRET SERVICE. We approached John to score the trailer knowing it was less abstract since it contained finalized footage. And the music was pure Bond.

John reluctantly played me his demo.

It was really good!

My only comment was that for about four measures it veered off into something that somehow sounded like it was from some Western. An easy fix.

John sent it off as it was.

Brad Bird called me all excited. We were finally getting somewhere.

He called John to rave and to give him a single note, to change a few seconds that sounded like cowboy music.

With that, John quit the film.

I felt like a complete failure. I wanted to wrangle the unwranglable.

Here was the man who had written so much of my favorite music and I wasn't able to help him across the finish lines.

Despite all of this, he was always very kind and supportive of me in our conversations. He wasn't putting on horrible pressure to pull rabbits out of the hat. He never pointed a finger of blame in my direction.

But it still hurt.

I will never really know what John made of the string of clashes, quittings, firings and setbacks that had started defining many of his experiences even before we were working together.

Outwardly, at least to me, he seemed more resigned and disappointed than angry.

Part of me thinks he had soared so high early in his career followed by such a glorious rebirth with OUT OF AFRICA and DANCES WITH WOLVES that his resilience to conflict was greatly reduced. It was almost like he had started to accept and maybe expect things not to work out.

Towards the end of his life I continued getting offers from fans of Barry's work, including director Matthew Vaughn who wanted John to contribute something for X-MEN: FIRST CLASS. By then John was too ill to consider it.

I was in the middle of a parade at Hong Kong Disneyland with Danny Elfman and my son when I got a text message that John Barry had died.

Surrounded by families enjoying the magic of the park, I felt numb.

There wasn't going to be another conversation between us. There wasn't going to be another John Barry score. There wasn't going to be another chance for me to wave my magic wand and somehow make everything work out just right.

Fittingly, his final score was for a film titled, ENIGMA.

I had once posed the question to composing giant Jerry Goldsmith: If he were a film director, whom he would hire (other than himself) to score his films. Without pause he offered the name, “John Barry.”

Goldsmith, perhaps the most compositionally complex composer for film, he of the never-settling time signature and unexpected and unsettling harmonics, suggested a composer noted for his straight and seemingly simply melodies. I had to inquire why. “No one nails a film with a theme better than Barry,” he said.

Goldsmith was right. Without a lot of compositional filigree, John Barry would aim straight for the heart of a film’s emotional core. He possessed an uncanny ability to take in the complexities of a film’s characters and narrative, distill it into a pure form, and then express that as straight and direct melodies.

It is deceptive to think that the creation of something that is simple is actually simple to do.

We can try to dissect exactly what made a Barry tune a Barry tune, or why his seemingly unsophisticated countermelodies wrench us in our gut, but that would be like trying to pull apart the majesty of a rainbow. At the end of the day, it works because it works.

His scores often explored how profound love can be, and how it can also be not quite within our grasp. I felt the same about my relationship with John. It was intimate, yet remote. Playful, yet sad. Simple, yet maddeningly complex."

Fuente

Bravo de nuevo. No obstante, si me permites...




Ya he conocido en otros foros a personas que evitaban en la medida de lo posible ver cine norteamericano, apuestas personales redobladas en aquel etiquetado como "comercial", precisamente por animadversión hacia el modelo global impuesto por su dominio.



Lo cual, para mí, aunque comprensible, carece de sentido. Es cómo una vieja amiga mía, que aborreció y tiró todos los libros de Oscar Wilde a la basura cuando se enteró de que había sido un pedófilo. Una reacción un tanto extrema, si, pero no más que la que comentas.


La situación, cultural, social y política en un momento determinado de la historia de una país concreto puede ser un infierno, pero por horrible que resulte ello no tiene porque significar que sus diferentes manifestaciones artísticas merecen menos consideración, simplemente porque nuestros principios, moralidad y ética sean incapaces de pasar por alto las atroces circunstancias en las que estas surgieron.

O dicho de otro modo: la humanidad, la ética y el respeto por los derechos humanos no son requisitos sine qua non para producir obras de arte. ¿Una barbaridad?. Indudablemente. ¿Merece nuestro más absoluta condena y desprecio? Absolutamente.


Pero aunque resulta útil desde un punto de vista histórico y formativo y cómo advertencia de lo que no se ha de repetir, a la hora de valorar su cine, pintura, literatura o escultura, nuestro juicio hacia dichas prácticas se han de intentar mantener al margen todo cuanto nos sea posible.


Ejemplo reciente: Valery Gergiev es amigo desde hace más de 30 años de Vladimir Putin, ha sido condecorado por servicios culturales a su país y es un entusiasta seguidor y valedor del actual régimen ruso. Es público y notorio. ¿Qué he de hacer, tirar sus discos por la ventana?. En 2014 fue una de las principales figuras culturales de Rusia que expresó publicamente su apoyo a la ley reforzada redactada el año anterior que penalizaba las relaciones entre el mismo sexo (con multas que pueden oscilar entre 40.000- 50.000 rublos, dependiendo del grado de "obscenidad" pública ).


Sin embargo, es uno de los mejores directores de orquesta del mundo, y los ingleses lo han hecho director titular de su orquesta, una de las 5 mejores del mundo, a pesar de lo comentado.

Iniciado por Otto+

Pista: compositora. El realizador del film vuelve este año tras un parón extenso de tiempo con ganas de dar guerra. Ha estado de actualidad recientemente.

Por la pista yo diría que esto es El libro negro de Anne Dudley, compuesto para el incombustible Verhoeven.

Saludos

Correcto. Peliculaza de Verhoeven, protagonizada por esa bellísima mujer y buena actriz que me parece Carice Van Houten, que vi por primera vez casi al mismo tiempo que "El hundimiento". En cuanto a Anne Dudley, decir que el veterano holandés ya no tan errante ha vuelto a contar con ella para "Elle". No está tan bien valorado su trabajo musical como los de Goldsmith o Poledouris para el director, pero a mí me parece que le da el tono de gran odisea, evocador y dulcemente amargo que pide el relato. Quizá sus detractores se regodean con los trabajos más complejos de Jerry o Basil en detrimento de éste, que persigue un estado anímico que recuerda a los de John Barry.
Ya digo, para mí, estupenda BSO de la autora de "Full Monty".

Iniciado por Branagh/Doyle

Bravo de nuevo. No obstante, si me permites...




Ya he conocido en otros foros a personas que evitaban en la medida de lo posible ver cine norteamericano, apuestas personales redobladas en aquel etiquetado como "comercial", precisamente por animadversión hacia el modelo global impuesto por su dominio.



Lo cual, para mí, aunque comprensible, carece de sentido. Es cómo una vieja amiga mía, que aborreció y tiró todos los libros de Oscar Wilde a la basura cuando se enteró de que había sido un pedófilo. Una reacción un tanto extrema, si, pero no más que la que comentas.


La situación, cultural, social y política en un momento determinado de la historia de una país concreto puede ser un infierno, pero por horrible que resulte ello no tiene porque significar que sus diferentes manifestaciones artísticas merecen menos consideración, simplemente porque nuestros principios, moralidad y ética sean incapaces de pasar por alto las atroces circunstancias en las que estas surgieron.

O dicho de otro modo: la humanidad, la ética y el respeto por los derechos humanos no son requisitos sine qua non para producir obras de arte. ¿Una barbaridad?. Indudablemente. ¿Merece nuestro más absoluta condena y desprecio? Absolutamente.


Pero aunque resulta útil desde un punto de vista histórico y formativo y cómo advertencia de lo que no se ha de repetir, a la hora de valorar su cine, pintura, literatura o escultura, nuestro juicio hacia dichas prácticas se han de intentar mantener al margen todo cuanto nos sea posible.


Ejemplo reciente: Valery Gergiev es amigo desde hace más de 30 años de Vladimir Putin, ha sido condecorado por servicios culturales a su país y es un entusiasta seguidor y valedor del actual régimen ruso. Es público y notorio. ¿Qué he de hacer, tirar sus discos por la ventana?. En 2014 fue una de las principales figuras culturales de Rusia que expresó publicamente su apoyo a la ley reforzada redactada el año anterior que penalizaba las relaciones entre el mismo sexo (con multas que pueden oscilar entre 40.000- 50.000 rublos, dependiendo del grado de "obscenidad" pública ).


Sin embargo, es uno de los mejores directores de orquesta del mundo, y los ingleses lo han hecho director titular de su orquesta, una de las 5 mejores del mundo, a pesar de lo comentado.

Ese tipo de negaciones o discrepancias suelen implicar credos particulares inculcados a través del tiempo, teñidas de un claro matiz emocional, moral, político o ideológico difíciles de esquivar.
Evidentemente se palpa arte en Leni Riefenstahl o en la construcción de El valle de los Caídos, pero es complicado sustraerse de lo que representan, sufrimiento a la postre, y el concepto moral ahoga el de naturaleza artística en cuanto a prioridades. El sentimiento primaría aquí sobre la razón en una batalla desigual.
Aunque nos invadieran desde otra galaxia y aniquilaran a la raza humana , cualquier tipo de construcción hecha por esa civilización sería considerada como una muestra artística de gran valor intrínseco. Este es un tema ciertamente interesante para, por qué no, analizar en base a ejemplos.

Estando como estoy de acuerdo con tu resolución, y volviendo a esa declaraciones a las que me referí antes, tiendo a pensar en ellas como un epitafio o gran titular para sus ponentes, pero que leyendo la letra pequeña, no sería para tanto. Además, no eran opiniones pensadas "con las tripas" sino que estaban bien meditadas en cuanto al respeto con que eran expuestas.

Otto, yo tengo que volverme a ver El libro negro.

Nueva propuesta:

https://audioboom.com/boos/4629518-?t=0

Saludos

Querido Tripley, esto es Muerte entre las flores, de tu adorado Carter Burwell, creo.

Querido Branagh/Doyle, el compositor, efectivamente, es Cartel Burwell, pero no es Muerte entre las flores.

La elegancia del tema creo que es una gran pista sobre el film, una gran adaptación literaria.

Saludos

Ouch.



¡Mmmm!