Post date: 13-Nov-2017 09:27:41
Festen by Thomas Vinterberg (1998)
If I had to give an example of a cinematographic bomb, I would definitely say Festen by Thomas Vinterberg. Festen is a punch in your stomach, and it is the way it has been received in 1998 at Cannes Film Festival (where it won the Jury Prize). Most of the effect of the movie relies on the surprise, so I will say nothing about the plot, and I strongly invite you to read nothing, just watch these brilliant 90 minutes. Festen was a little revolution of cinema because it reminded how restraints can trigger creativity. Indeed, Festen is the first movie belonging to the Dogme 95, created by Lars Von Trier and other Danish filmmakers (including Vinterberg). This radical movement intends to create of new movement of cinema, in response to the heavily formatted production of movies of that time, by imposing a set of very strict rules, among which: unity of time, place and action, no artificial lighting, only direct sound (no additional music), camera always handled by hand, poor image resolution, no director crediting, etc. While these rules may seem sterile, well, all its meaning appears when watching Festen. The filmmaking (the editing is absolutely brilliant) creates a fake feeling of reality, very esthetic, which serves perfectly the purpose of the story. In fact, this screenplay is so extreme, it could have ended in something really fake, theatrical, or just ridiculous. But Dogme 95 allowed the director to reach the perfect tone, a balance for such extreme situation. I have rarely felt something as strong in a cinema as when I watched Festen for the first time, and it still is so efficient whenever I watch it again. Believe me, you will remember it.
Spectrum by Billy Cobham (1973)
After several pure progressive rock records, let's talk back about jazz fusion. This genre from the 70s incorporates the sounds and instruments of classic rock in a jazzy improvisation framework. Bitches Brew by Miles Davis is often quoted as the landmark of this style, in 1969, and indeed, the future leader of fusion were all former musicians of Miles. John McLaughlin, Chick Corea, Herbie Hancock, Wayne Shorter, etc. But among them, the grooviest example is probably the drummer Billy Cobham, and his masterpiece Spectrum. In 1973, Funk was still at an early stage, and hard rock was just appearing. However, Cobham incorporated both of these in the most brilliant way in this record. Accompanied by his mate Jan Hammer on keyboards (who played later on for Jeff Beck) and by the sadly short-lived guitar genius Tommy Bolin (who played for Deep Purple), the sound of Spectrum is way ahead of its time. Of course, Cobham's drumming is an impressive mixture of technical mastery and groovy relaxation. The title song is an impressive showcase on how to make a 7/4 signature groove as hell. Face A displays incredible fusion moments, but the quintessence of groove is definitely side B, with the best bass riff of all time (yes, that much): Stratus. It is impossible to not shake your head in rhythm while listening to that mesmerizing line. Every single part of this song is brilliant, sweating groovy vibes like all musician wants to reach. Special mention to Bolin's solo, which is astounding. Red Baron perfectly concludes this album, where everyone plays with restraint, which is where groove hides: somewhere in between mastery and relaxation. Thank you Billy for the lesson, let's conclude with your quote from inside the vinyl cover: "What is life but a Spectrum and what is music but life itself".