All my heart beating
(De battre mon coeur s' est arrêté)
Jacques Audiard France 2005
With Romain Duris, Aure Atika, Emmanuelle Devos, Niels Arestrup, Jonathan Zaccai.
Metronome
Tom listens to electronic-pop while his hands move in rhythm with the natural frenzy of the studies of classical music, which is preparing for an audition.
Every sound becomes inaudible, the size is hushed: there is only the essence of music, one that grips you with no way out and always attracts you and pushes deeper into its vortex of fascinating seduction.
violent hands melt into sweet and smooth movements against those damn piano keys that allow a pianist to get in touch with the music, enchanted by that while you can not help but love to madness, by 'Another will be the object that cry a thousand times your anger to that scale in difficulty putting out your hand for that nuisance caused by excessive stress and study for that tendon under tension are aware soon betray you.
ALL beat of my heart creeps in the relationship between a person and the world, between a person and music, between music and the world: the infinite possibilities of interpersonal relations merge and articulate in the course of the story into a story peaceful evolution and meticulous, as the study of a rhapsody or a symphony. Constant and stubborn, the protagonist sees himself butting in and around the world that surrounds the opposites which keep alive the world, understanding the role inevitable but not resigned to his submission.
Tom lives by instinct, to touch, grasp his life to music, this is the one that accompanies the buttons crossings by car through the city of colored neon lights at night or in times that the cradle of study in which face to face with a score, tackles the past, present and future than relying on individual sentences to those individual breaths to disconnect the world around him to concentrate exclusively on the sound, technology, shape, style.
Virgil in the forest of arpeggios and chords in this case is a guide whose words unintelligible and peremptory give body and shape to the musical rigor, the iron discipline behind the performance, the determination that a critical eye may seem exhausting and which is really the only way to totally get in touch with the music: is therefore on the boards in China emphasized by gestures and looks that Tom rejoined the philosophy of the discipline of musicians, anyone who can close their eyes behind their eyes and find rows and rows of chrome and demisemiquavers and I can hear ringing in their ears melodies and accompaniments.
The human element is wound up on the thread of music, slap realistic universe dreamy and wonderful sounds of the cosmos: the daily drama, violence, brutality, represents the entire size of the gray-stained blood film of the occupations of buildings and evictions, loss of money, betrayal of friendships, theft, threats of revenge killings.
La sintesi del percorso del film di Audiard è insita in una delle sequenze visivamente più coinvolgenti: Tom, che come qualunque musicista si tiene lontano da tutto ciò che può danneggiare l’esecuzione, osserva le proprie mani ferite ed insanguinate.
La magia della musica si dovrebbe spegnere qui, nella “dissacrazione” delle mani di un pianista: ma non è così.
Si continua a suonare, si continua a viaggiare lungo gli infiniti e dolorosi binari della musica.
Come sempre è stato e sempre sarà.
Tom listens to electronic-pop while his hands move in rhythm with the natural frenzy of the studies of classical music, which is preparing for an audition.
Every sound becomes inaudible, the size is hushed: there is only the essence of music, one that grips you with no way out and always attracts you and pushes deeper into its vortex of fascinating seduction.
violent hands melt into sweet and smooth movements against those damn piano keys that allow a pianist to get in touch with the music, enchanted by that while you can not help but love to madness, by 'Another will be the object that cry a thousand times your anger to that scale in difficulty putting out your hand for that nuisance caused by excessive stress and study for that tendon under tension are aware soon betray you.
ALL beat of my heart creeps in the relationship between a person and the world, between a person and music, between music and the world: the infinite possibilities of interpersonal relations merge and articulate in the course of the story into a story peaceful evolution and meticulous, as the study of a rhapsody or a symphony. Constant and stubborn, the protagonist sees himself butting in and around the world that surrounds the opposites which keep alive the world, understanding the role inevitable but not resigned to his submission.
Tom lives by instinct, to touch, grasp his life to music, this is the one that accompanies the buttons crossings by car through the city of colored neon lights at night or in times that the cradle of study in which face to face with a score, tackles the past, present and future than relying on individual sentences to those individual breaths to disconnect the world around him to concentrate exclusively on the sound, technology, shape, style.
Virgil in the forest of arpeggios and chords in this case is a guide whose words unintelligible and peremptory give body and shape to the musical rigor, the iron discipline behind the performance, the determination that a critical eye may seem exhausting and which is really the only way to totally get in touch with the music: is therefore on the boards in China emphasized by gestures and looks that Tom rejoined the philosophy of the discipline of musicians, anyone who can close their eyes behind their eyes and find rows and rows of chrome and demisemiquavers and I can hear ringing in their ears melodies and accompaniments.
The human element is wound up on the thread of music, slap realistic universe dreamy and wonderful sounds of the cosmos: the daily drama, violence, brutality, represents the entire size of the gray-stained blood film of the occupations of buildings and evictions, loss of money, betrayal of friendships, theft, threats of revenge killings.
La sintesi del percorso del film di Audiard è insita in una delle sequenze visivamente più coinvolgenti: Tom, che come qualunque musicista si tiene lontano da tutto ciò che può danneggiare l’esecuzione, osserva le proprie mani ferite ed insanguinate.
La magia della musica si dovrebbe spegnere qui, nella “dissacrazione” delle mani di un pianista: ma non è così.
Si continua a suonare, si continua a viaggiare lungo gli infiniti e dolorosi binari della musica.
Come sempre è stato e sempre sarà.
Priscilla Caporro
www.spietati.it
rassegna Vita & Musica
www.spietati.it
rassegna Vita & Musica
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