![]() How appropriate that their association was unveiled with an image of curtains and a drum roll - an old-fashioned image coupled with an old-fashioned sound, simultaneously evoking Bernard Herrmann’s work with Alfred Hitchcock and the scores of handsomely produced mid-century melodramas by the likes of Douglas Sirk and Vincente Minnelli.īut the brilliance of Lynch and Badalamenti’s partnership is just as apparent in the traditionally scored parts as in the overtly “Lynchian” passages of menacing borderline noise. ![]() The late composer began his relationship with the filmmaker on Blue Velvet, and right out of the gate, you can see and hear the former’s effect on the latter’s movie: Badalamenti’s music confirmed the sincerity of Lynch’s belief that there is good and evil in all of us, that the very good people are indeed very good and the evil people deeply evil, and that, for all his droll and sometimes perverse humor, Lynch is not kidding about anything, much less mocking his characters. Photo: De Laurentiis Entertainment Group/Sunset Boulevard/Corbis via Getty ImagesĪngelo Badalamenti helped audiences get David Lynch. ![]() The late Angelo Badalamenti, playing the pianist behind Isabella Rossellini, in David Lynch’s Blue Velvet.
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