Thursday, April 7, 2011
Dark Side of the Rainbow (also known as Dark Side of Oz or The Wizard of Floyd) refers to the pairing of the 1973 Pink Floyd music album The Dark Side of the Moon with the visual portion of the 1939 film The Wizard of Oz. This produces moments where the film and the album appear to correspond with each other. The title of the music video-like experience comes from a combination of the album title and the film's song "Over the Rainbow". Band members and others involved in the making of the album state that any relationship between the two works of art is merely a coincidence.
In August 1995, the Fort Wayne Journal Gazette published the first mainstream media article about the "synchronicity", citing alt.music.pink-floyd. Soon afterward, several fans began creating websites in which they touted the experience and tried to comprehensively catalogue the corresponding moments. A second wave of awareness began in April 1997 when Boston radio DJ George Taylor Morris discussed Dark Side of the Rainbow on the air, leading to further mainstream media articles and a segment on MTV news.
In July 2000, the cable channel Turner Classic Movies aired a version of Oz with the Dark Side album as an alternate soundtrack. Turner Entertainment has owned the rights to the film since 1986.
Fans have compiled more than one hundred moments of perceived interplay between the film and album, including further links that occur if the album is repeated through the entire film. Examples include music changes at dramatic moments, and thematic alignment such as the scarecrow dance during "Brain Damage". This synergy effect has been described as an example of synchronicity, defined by the psychologist Carl Jung as a phenomenon in which coincidental events "seem related but are not explained by conventional mechanisms of causality."Detractors argue that the phenomenon is the result of the mind's tendency to think it recognizes patterns amid disorder by discarding data that do not fit. Psychologists refer to this tendency as apophenia. Under this theory, a Dark Side of the Rainbow enthusiast will focus on matching moments while ignoring the greater number of instances where the film and the album do not correspond. Another theory suggests the correspondence may have been assisted by the synaesthetic effects of narcotics taken by those who then chose to enjoy the album and the film together (that is to say, the only reason they think the two match is because they're under the influence of drugs).
Download links: 1 2 3 4 5 6 7 8 or TORRENT
Tuesday, March 15, 2011
Street of Crocodiles is a 21-minute-long stop-motion animation short subject directed and produced by the Brothers Quay and released in 1986.
The Street of Crocodiles was originally a short novel written by Bruno Schulz, from a story collection published under that title in English translation. Rather than literally representing the childhood memoirs of Schulz, the animators used the story's mood and psychological undertones as inspiration for their own creation.
A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. The desolate ambiance and haunting musical score convey a sense of isolation and futility, forcing the viewer into immediate identification with the mute protagonist as he explores a realm of mechanical realities and manufactured pleasures. As the protagonist tries to conform, or is forced into assimilation, the film slowly reveals how unfulfilling the surroundings actually are. Life and vitality are gradually stripped away to reveal the passionless cycle of existence.
Although heavily metaphorical, the piece also exemplifies the experimental and curious nature of the Quays' work. Rather than examining the potential symbolism of such props as screws, dust, string, and wind-up monkeys, many shots seem to focus on the movements and inherent characteristics of the materials. Like most of their films, the Brothers Quay employ a more musically-grounded structure in place of a straight-forward literal narrative in Street of Crocodiles.
Download links: 1 2 3
Friday, March 11, 2011
Grzegorz Cisiecki’s 2007 short film DYM is a surreal, ambiguous 7 minutes of experimental and ambitious cinematography. Interpret as you will, with no dialogue to help us along, it is left to our own imagination to decipher. Flitting from one beautiful scene to the next, there is no doubt huge talent behind DYM. With a startling musical score and superb lighting, this short is a masterpiece of creativity.
The story of the person who became the captive of surrealistic madness.
Film by Grzegorz Cisiecki
Photography: Dawid Rymar
Editing: Cecylia Pacura, Grzegorz Cisiecki
Original score: Rashid Brocca, Aleksandr Poroch
Cast: Marta Szumiel, Grzegorz Golaszewski, Oriana Soika, Bartlomej Nowosielski
PWSFTViT, Poland, 2008
Sunday, March 6, 2011
Soundtrack from the Film More is the first full-length soundtrack album by the English rock band Pink Floyd, released on 27 July 1969. The film More was made in Luxembourg in 1969 and was directed by Barbet Schroeder. In it, two songs can be heard that were not included on the album: "Seabirds", and "Hollywood". The album actually comprises the other music used in the film, sometimes in a completely different form.
The original American edition shortened the title to just More. This was the last of three Pink Floyd albums to be released in the United States by the Tower Records division of Capitol Records. The 1973 US re-issue was released on Harvest Records. Although the CD edition restores the original United Kingdom title in all countries, it is represented differently on the spine (Music from the Film More) and label (Soundtrack to the Film More).
More contains some acoustic folk ballads, a genre that appeared sparsely on later works. It also contains a couple of hard rock songs ("The Nile Song", "Ibiza Bar"), as well as several instrumental tracks, featuring their experimental (or avant-garde) approach.
This is Pink Floyd's first full album without founding member Syd Barrett, who was ousted from the group in early 1968 during the recording of their previous album, A Saucerful of Secrets. It is also the first album to be produced by Pink Floyd without assistance from Norman Smith and was recorded at Pye Studios, Marble Arch, London and engineered by Brian Humphries.
Artist: Pink Floyd
Title Of Album: More
Year Of Release: 1969 /1987, 1st U.K. issue/
Genre: Progressive Rock | Psychedelic rock
Format: FLAC (image+.cue+.log+Covers)
Total Time: 45:01 min
Total Size: 214 mb
01. Cirrus Minor
02. The Nile Song
03. Crying Song
04. Up The Khyber
05. Green Is The Colour
07. Party Sequence
08. Main Theme
09. Ibiza Bar
10. More Blues
12. A Spanish Piece
13. Dramatic Theme
download or download
More is an english language film directed by Barbet Schroeder, released in 1969. Starring Mimsy Farmer and Klaus Grünberg, it deals with heroin addiction on the island of Ibiza. It features a soundtrack written and performed by Pink Floyd, released as the album Soundtrack from the Film More.
A German student, Stefan, who has finished his studies, decides to have an adventure, get out of his conservative skin and to burn his bridges. After hitch-hiking to Paris, he commits burglary to get money and meets a free-spirited American girl, Estelle, following her to Ibiza. He discovers she is in trouble with a man named Dr. Wolf. Stefan saves Estelle from Dr. Wolf only to find she does not really want to be saved, and she introduces him to heroin (referred to by the old street name, "horse") which she has stolen from Dr. Wolf. The inevitable spiral into drug abuse and denial leads him down a dark road.
This story is modeled on the myth of Daedalus and Icarus with Estelle as the Sun.
The French film Censorship Board in 1969 insisted that some of the dialog be censored around the 81 minute mark before the film could be released. In the film, as the couple mix up a hallucinogenic concoction in the kitchen, the ingredients "benzedrine" and "banana peel" are deleted from the audio track. On the DVD, the words have been re-added as subtitles.
Most of the movie was shot on the island of Ibiza. The castle of Ibiza, which dominates the harbour and the town, is the scene for the final act. The location of Stefan's death, a tunnel near the castle, has since become a place of pilgrimage for addicts.
Thursday, March 3, 2011
Ballet Mécanique was a project by the American composer George Antheil and the filmmaker/artist Fernand Léger. Although the film was intended to use Antheil's score as a soundtrack, the two parts were not brought together until the 1990s. As a composition, Ballet Mécanique is Antheil's best known and most enduring work. It remains famous for its radical style and instrumentation as well as its storied history.
In concert performance, the "ballet" is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bells stand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive –- a medley of noises, much as the Italian Futurists envisioned new music of the 20th century. To explore a fascinating artifact of modernist music like Ballet Mécanique, it is worth understanding its history and also its musical qualities.
In its original release, the film's French title was "Charlot présente le ballet mécanique" (as seen on the original print), referring to showman André Charlot, who financed this film's French distribution. In France, Charlie Chaplin's Little Tramp character was also known as Charlot; the combination of the producer's name and Chaplin's screen image, represented by a Cubist-style paper puppet, is only the first of many visual puns in the film -- a seeming display of the film's sheer visual modernity, as intended by its creators from the get-go.
Download links: Part 1 Part 2 or watch
Rabbit’s Moon is an avant-garde short film created by American filmmaker Kenneth Anger. Originally filmed in 1950, Anger only finished and released it in 1972, before re-releasing it in a second edition with a new soundtrack and other alterations in 1979.
Filmed under a blue filter and set within a wooded glade during the night, the plot revolves around a clown, Pierrot, who longs for the moon, in which lives a rabbit (a concept found in both Japanese and Aztec mythology) and his futile attempts to jump up and catch it. Subsequently another clown, Harlequin appears, and teases Pierrot, showing him Columbina, with whom he appears to fall in love.
The 1972 version features a soundtrack made up of a series of pop songs; "There’s A Moon Out Tonight" by The Capris, "Oh, What a Night" by The Dells, "Bye Bye Baby" by Mary Wells, "I Only Have Eyes For You" by The Flamingos and "Tears On My Pillow" by The El Dorados. The 1979 version, which is speeded up, instead features the song "It Came in the Night" by the band A Raincoat played on a loop.
The movie is credited by the electronic music act Rabbit in the Moon as the inspiration for their name.
Download links: Part 1 Part 2
Tuesday, February 22, 2011
This film is presented in original Turkish language and has no subtitles. There is not a copy of this film available with subtitles anywhere. This is the only way to get it. Besides, you hardly need subtitles to figure out what is going on. Badi (aka Turkish E.T.) Director: Zafer Par Starring: Cengiz Sayhan, Tolga Sonmez, Orhan Cagman, Tuncer Sevi, Ani Ippekkaya Language: Turkish/ No Subtitles Ratio: Full Screen Originally titled "Badi", this film pretty much follows the story of the American version of "E.T." The Turkish translation of the extra-terrestrial is very comical but loveable, (looking like at times a strange claymation creation from another planet and other scenes a grown person in brown pajamas with a potato sack head.) The kids aren't afraid of E.T., though. Instead of being hidden away at the house of the little boy that finds him for most of the movie where it can get loaded on beer and dress up in drag, this E.T. is rather quick to get out in public. In one scene, E.T. just strolls right into the little boy's classroom for all to see. Upon seeing it, the classroom teacher has a heart attack and slumps over at his desk. Using his alien detector, a nice old man finds E.T. out in the middle of nowhere, sick. He brings the creature back home to the little boy and they throw it in bed. Not long after, a crowd of people gather outside of the home, some offering their prayers to the creature while others are threatened by him. Healing rather quickly, E.T. levitates himself, the little boy and a select group of kids on a bike, basket contraption where they fly over Turkey, evading an impending hassling by the police and they touch down in a forest where a spaceship awaits to take the creature home. The little Turkish actors are very impressive, in fact, much more so than the former cast in terms of emotional levels of acting in the scenes. This is a heartwarming, funny and original take on a classic "American" alien.
Download links: 1 2 3 4 5
Sunday, February 13, 2011
Kanashimi no Belladonna also known as "The Tragedy of Belladonna" is an art house animation feature animated film produced in 1973 by Mushi Production. Directed and co-written by Eiichi Yamamoto and inspired by Jules Michelet's non-fiction book Satanism and Witchcraft, it is the third and final film in the Animerama trilogy and the only one to be neither written nor directed by Osamu Tezuka (he left Mushi Production during the film's early stages to concentrate on his comics and his conceptual-stage contribution is uncredited).
It was unusual on several counts: First off, it was an X-rated erotic Fantasia-esque feature length animation produced by by Mushi Production. Mushi Pro is the studio responsible for classic childrens fare like Astroboy and Kimba the White Lion. It’s easy to make the case that Osamu Tezuka, the company’s founder, should be regarded as the Walt Disney of Japan. In fact, it was Tezuka’s wide-eyed way of drawing characters that influenced Anime profoundly. Although Tezuka had already stepped down from the company three years earlier, it’s still not easy to imagine Disney producing soft porn cartoons just a few years after Uncle Walt’s passing…
Based kinda/sorta/somewhat on the Joan D’Arc story, Belladonna of Sadness also incorporates vampires and orgies into her tale (?!?!). Butterflies that take flight in the shape of a vagina and other things. As I have never seen a copy with English subtitles, it is rather difficult for me to say exactly what is going on in Belladonna of Sadness, although I can report that that Kuni Fukai’s stunning visuals (reminiscent of the work of Gustav Klimt and Aubrey Beardsley) are quite incredible eye candy and unlike anything else I’ve seen.
The Proposition is a soundtrack recorded by Nick Cave in collaboration with Warren Ellis, and was produced for the film The Proposition, released in October 2005.
This album is instrumentally focused, and is a departure from Cave's band-oriented compositions. All tracks are directly reproduced from the musical interludes in the film, and feature little alteration from the film score. Many songs on the album are slow-tempo and ballad-like, and the violin work of Warren Ellis becomes the central voice of the album for much of the time. Cave's unusual vocal performances on the "Rider" trilogy of songs brings a particularly haunting and uneasy tone to the album.
Nick Cave & Warren Ellis
Released: 13 Mar 2006
01. Happy Land
02. The The Proposition, Pt. 1
03. Road to Banyon
04. Down to the Valley
05. Moan Thing
06. The The Rider, Pt. 1
07. Martha's Dream
08. Gun Thing
09. Queenie's Suite
10. The The Rider, Pt. 2
11. The The Proposition, Pt. 2
12. Sad Violin Thing
13. The The Rider, Pt. 3
14. The The Proposition, Pt. 3
15. The The Rider Song
16. Clean Hands, Dirty Hands
Tuesday, February 1, 2011
The last few years Tsukamoto has been experiencing a slight decline towards (relatively) more commercial cinema. His latest (Nightmare Detective 2) is the ultimate proof of this change of style. Some might have you believe this new Tetsuo film is continuing the downward spiral, I clearly saw a completely different film. Tsukamoto returns back to his optima forma and delivers a film filled with more insanity than his age would ever betray.
You'll be hard-pressed to find a positive Tetsuo: The Bullet Man online. And while most negative feedback is definitely grounded, it seems to be missing the point entirely. This third Tetsuo film is in every way more of a sequel to the first film, somewhat ignoring the style and direction of the second one. It's in part an update of Tsuka's first Tetsuo film, but also somewhat of a rehash. I can only guess of course, but I'm not sure everyone was hoping to see the limitations of the first Tetsuo resurface after 20 years.
The Bullet Man was produced by an American company, somewhat explaining the switch to an American male lead (English dialogues included). Luckily these English dialogues makes sense within setting of the film (American boy living in Tokyo) and Tsukamoto is not pulling a Miike here. Still, I admit I too would've preferred an all-Japanese cast and native Japanese language track. The English feels awkward and static and even though it's probably how Tsuka wanted it to be, as someone who doesn't speak Japanese it would've been less of a hurdle if the film had been written in Japanese.
There's also a bit more background story to the Tetsuo saga. Many have faulted the additional story elements and complained the film is less vague and open than the first Tetsuo. This is definitely the case (though there really isn't that much extra plot to work through) but hardly something to worry about. Tetsuo was never about interpretation or a good story in the first place. The additional information here isn't really adding anything but it's not as if it's terribly in the way of the rest of the film either. Tetsuo is about dudes turning into metal and that's what you'll be getting.
Visually there's a big change between the gritty black and white of the first film and the moody, colored digital look of this third installment. It's a good thing Tsukamoto has had some prior experience with digital filming which is definitely paying off now. Everything looks lush, atmospheric yet gritty and smoky, only in a different way. The visual effects are spot on too, the same goes for Tetsuo's transformation designs. I really don't understand the bad press here. It's not as if the first Tetsuo didn't look as if he was made from anything other than paper mache. The third Tetsuo doesn't quite look like he's made from iron (which would make him quite expressionless by the way), but I didn't really see the rubber either. In the end, he just looked pretty bad-ass, which is all that mattered.
As for the editing, Tsukamoto still has it. Hyperactive, frantic, insane yet controlled and razor sharp. It masks some of the technical imperfections and heightens the atmosphere and pacing, making the action scenes all the more brutal. It also works wonderfully well with Chu Ichikawa (the man's back!) his soundtrack. Lovely metallic sounds, crunchy effects and pounding industrial tracks. A shame I couldn't see this film in theaters, I'm sure it would've sounded even better.
As for the acting, Tsukamoto's typical Kaijyu Theatre-style is back once again. It might clash a little with the American actors (we might be used to frantically screaming Japanese men by now, it still looks a little strange if an American does it) but overall the acting isn't even all that bad. Bossick does a pretty job, comparing him to Taguchi would be a little unfair though. The rest of the cast is not bad either, with the nice addition of Tsukamoto himself picking up the role of bad guy once again.
Tetsuo 3 is a pretty short film (80 minutes tops) but considering the frantic visual style and pounding soundtrack that's not necessarily a bad thing. There is no filler, no needless drama, any explaining that needed to be in here is short and to the point. In an ideal world another 10 minutes could've been cut to erase some of the obsolete story elements, but they never really interfere with the important parts: audiovisual transformation mayhem.
So while negative feedback on the dialogues and script is hard to contradict, it doesn't really differ all that much from the original Tetsuo. A film with a pretty long list of defects, all of them eclipsed by the uniqueness and positive points the film is bearing. Tsukamoto's third film is just like that. It's an audiovisual assault that knows little to no equal, staying close to the spirit of the original. As a fan of everything the first Tetsuo represents (still one of my top 10 films), I simply loved this sequel.
Usually negative feedback lowers people's expectations (which is a good thing), in this case many potential viewers seemed to dismiss this film completely without even giving it a fair chance. Don't be one of these people. Tetsuo: The Bullet Man is a worthy sequel to Tsukamoto's first feature film. It bears the same charm and defects as the first Tetsuo and some very minor extra glitches, but the core is still there. An assault to the senses in pretty much every way possible. So make sure to make up your own mind, just don't expect a true "upgrade" (ie a film influenced by 20 years of modern film making).