Bill Morrison composed Decasia (2002) as a decomposing homage to Fantasia (1940). Far from being a pedestrian imitation (i.e. Fantasia 2000), Morrison’s film is an astonishingly unique cinematic experience: a diaphanous visual collage juxtaposed to the music of composer Michael Gordon.
There is a breed of minimalistic new age composers espousing a play-it-safe spirituality. Gordon is not among them. He is a one of a handful of authentic, spiritually challenging voices in 21st century artmusic. Gordon’s rich use of dissonance and atonal language puts him shoulder to shoulder with the likes of such 20th century artists as Luigi Nono and John Coltrane. Gordon’s “Decasia,” composed for the Basel Sinfonietta, is called a “symphony,” and is a response of sorts for those who (often correctly) believe that the symphony, as an art form, was extended to its death in the works of Anton Bruckner and Gustav Mahler. Some would argue that Gordon’s opus, a continuous movement utilizing synthesizer and electric guitar together with full orchestra, does not fit the symphonic criteria. But then, neither did Roy Harris’ iconic work. Like Coltrane’s “Ascension,” Decasia is a demanding journey. Gordon previously came to prominence with his intimately provocative psychological opera “Alarm Will Sound.” Based on Vincent Van Gogh’s letters to his brother Theo regarding the ear lobe cutting incident, it is desolate and suffocatingly beautiful. “Decasia” is a further development of that aesthetic, moving beyond words to the tragedy of silence, making Morrison a quintessential collaborator.
As new opera directors rethink old chestnuts, so too does Morrison rethink Walt’s innovative concert program of film imagery wedded to music. How Morrison dances with the preexisting music is as original as that ambitious premiere in 1940. Dancing is an apt description, as Decasia begins and ends with a whirling dervish. Morrison’s approach to conveying that decay is as startling as Claus Guth‘s humanizing “Messiah” and as relentless as Guth’s collaboration with Chaya Czernowin in Mozart’s “Zaide.” Morrison’s aesthetic point of entry manages to be paradoxically unsettling and accessible at the same time: no mean feat. Typically, in many postmodern endeavors it is mystery and spirituality that is forefront, usually (and lamentably) at the expense of expressive directness and all traces of humanity. Morrison does not make that mistake, and the unfolding of his vision is hypnotically entertaining.
Using silent film footage and stock reels, Morrison’s imagery is akin to cadavers struggling with the effectiveness (or not) of embalming fluid. Nuns with schoolchildren, missionaries baptizing in a river, a boxer, crashing waves, a man reading a newspaper, a caravan of camels, landscapes, a geisha, miners, and volcanoes rise from the blemishes of a Dorian Gray portrait, once as handsome and muscular as the square jawed William S. Hart or as prettified as the coquettish Mary Pickford. It is a circular, phantasmagoric dance-to-your-death potpourri. The assemblage of primordial imagery, conjoined with Gordon’s aural language, craft an evocative, textured experience that is probably most effective on the big screen. The sole advantage to home viewing would be lack of interruption due to grumbling patrons walking out.
By taking this unpreserved archival footage, keeping it intact, and wedding it to the atonal composition, Morrison’s contemplative, non-linear narrative serves the nitrate deterioration like a protective skin. Decasia simultaneously celebrates decay and survival with an unbridled enthusiasm found in the most memorable cinematic experiments of the 1960s.
While on leave, Johnny (Hopper), looking for female companionship, roams through a Venice Beach carnival and meets the mysterious Mora (Lawson) at a jazz bar. Strangely enough, we never see Johnny with other sailors. He only seems a sailor because we are told he is one. Otherwise, he is an outsider, dislocated in the world, and draws to another misfit soul in Mora (which makes more sense than the bourgeoisie Oliver being attracted to exotic Irena in the afore mentioned Cat People). Mora plays a mermaid in a sideshow exhibit in the carnival. Her employer is her adoptive father, Captain Sam (Gavin Muir). Johnny’s relationship with Mora is replete with obstacles, the biggest being Mora’s latent belief that she turns into a mermaid during the fill moon. Sam reveals to Johnny that he found Mora on a Mediterranean Island. Sam’s explanation is intentionally vague and masks incestuous desire. Ellen (
“, and Night Tide is receiving a Blu-ray release in October.
You told us you like action,
The Fantasia deal signed, Stokowski was excited and predictably offered numerous ideas about the use of color. A later biographer wrote that the conductor’s fascination with color was sincere, describing his various experiments with mixing alcoholic drinks for color effects. Stoki did a similar thing with “sound color” by incessantly changing the orchestra seating layout. Even visually, “Toccata and Fugue” is pure Stokowski. The opening piece is introduced via the superb narration of American composer Deems Taylor (to the public he was primarily known as a commentator for the NY Philharmonic Radio Broadcasts). This “absolute music” is total abstraction. Entirely hand painted, at times the watercolors almost appear to still be wet. Vibrant with texture, this is far removed from contemporary slick and soulless computer animation. Stokowski used no baton, so his beautifully powerful long hands are highlighted, jabbing through the splashing backdrop. The french horns are hauntingly lit in diaphanous color before the violin bows transform into silvery beams of light reaching for infinity. Sound and vision collide, producing crashing tides, ending in a literal fireworks display.
True to the tenets of silent film, Return to Babylon is episodic, opening (and closing) with the notorious vamp Theda Bara (played by Sylvia B. Suarez) gazing into her crystal ball. It almost plays like an “Inner Sanctum” episode, with a real-life silent actress serving as the introductory host. Canawati stamps the flow of his film with idiosyncratic verve, making these episodes feel like jazz miniatures. Like Kurt Weill (a jazzy period composer whose music is utilized in the film), Canawati is prone to moments of seductive dissonance. In the opening, this dissonance takes the form of bursting legendary bubbles, yet one senses Canawati’s sincere embrace of the truth behind (what the sur-titles refer to as) “Hollywood: Metropolis of make believe.”