Friday Film (23)

What is wrogn with this picture…?

I really do need to get this weekly series back on track: as regular readers will have noticed, several recent postings have remained unfinished — and, in some cases, even un-begun — because of time-consuming problems at this end that are either technical or biographical in nature.

With any luck, however, we will all find that these issues have now been resolved — which means that I ought to be able to ‘fill in the blanks’ from those past weeks, in addition to making some kind of ‘forward progress’ as these Fridays come round…

So what of today’s instalment…?

Well, have a look at the photo at the top right. What we see is, for a start, one of my current bêtes noires: a famous film, it would seem, has had its entirely adequate soundtrack electronically removed … simply so that a live orchestra can play it to a brain-dead audience in return for some money. But that particular topic is something that I’ve written about in a magazine article, so I don’t need to go on about it here.

As for the real and immediately relevant problem with that photo…

… See if you can work it out for yourself from a presentation of the actual scene that — according to our picture, at least! — is being musically accompanied by a full orchestra with seeming gusto…

Did you see the problem…?

Yes, you’re right: our picture — fraudulent product of ‘photoshopping’ that it manifestly is! — shows an orchestra (and its conductor) ‘accompanying’ a scene which, in reality, is one of the most spectacularly successful examples of musically unaccompanied film-making in Hollywood’s music-laden history.

And to clarify what is achieved by way of such music-less-ness, let me append three other videos…

The first adds a stretch of the film’s ‘authentic’ music to this footage in such a way that it can come to a moderately credible musical end just before the start of the ‘official’ soundtrack entry that helps to round off the scene…

… While the next two add entirely unconnected music that is very obviously much more ‘modern’ than the 1959 film to which it is attached…

Now, there are a few things to be said about what these three ‘revised’ versions do and don’t achieve: meet me here in a week’s time — with, of course, your own thoughtful reactions! — and we’ll go through them…


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