jcpintner
Joined Oct 2018
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Reviews16
jcpintner's rating
As I write this, I'm in the process of watching Starlost on DVD. In the 1970s, when I was in college, I knew of it but had not watched it.
But I remembered it, and that fact speaks for itself.
Other reviewers have criticized Starlost as looking low-budget, and poorly produced. I agree that everything looks like a stage play set, with limited set dressing and effects a step below the state of the art. There are lots of tight close-ups, and a bit too much musical underscoring.
But I think what's more important are the writing, acting, and storytelling. Done well, they can overcome limitations of execution. I'm still watching, and judging. The plot premise can give insights into problem-solving, as well as human nature. Starlost might well be ripe for a reimagining.
But I remembered it, and that fact speaks for itself.
Other reviewers have criticized Starlost as looking low-budget, and poorly produced. I agree that everything looks like a stage play set, with limited set dressing and effects a step below the state of the art. There are lots of tight close-ups, and a bit too much musical underscoring.
But I think what's more important are the writing, acting, and storytelling. Done well, they can overcome limitations of execution. I'm still watching, and judging. The plot premise can give insights into problem-solving, as well as human nature. Starlost might well be ripe for a reimagining.
I've been a Korngold fan for decades. Today, I saw Escape Me Never for the first time.
This may be the best example of a film that he described as an opera without words.
The ballet, composed by Errol Flynn's character, could be staged in live performance, and I'd like to read up on who choreographed it for the film.
Other Korngold-scored films contain what I understand are called "diagetic" works, actually composed by Korngold but attributed to characters in the films. They include the cello concerto from Deception, and the orchestral song/symphonic poem "Tomorrow" from The Constant Nymph.
Over and above that, the Violin Concerto and the Symphony in F# are concert works that use themes from his film scores.
In live performances, I've see the Symphony and Violin Concerto, and the opera Die Tote Stadt. Some day, I hope to see his early Sinfonietta.
This may be the best example of a film that he described as an opera without words.
The ballet, composed by Errol Flynn's character, could be staged in live performance, and I'd like to read up on who choreographed it for the film.
Other Korngold-scored films contain what I understand are called "diagetic" works, actually composed by Korngold but attributed to characters in the films. They include the cello concerto from Deception, and the orchestral song/symphonic poem "Tomorrow" from The Constant Nymph.
Over and above that, the Violin Concerto and the Symphony in F# are concert works that use themes from his film scores.
In live performances, I've see the Symphony and Violin Concerto, and the opera Die Tote Stadt. Some day, I hope to see his early Sinfonietta.
