Stalker ( film) | Revolvy
Lawyers for Mary Crosby and her husband, Mark Brodka, as well as the neighbor , Susan Demers, filed papers with Los Angeles Superior Court. Bing Crosby filmography Poster for Sing, Bing, Sing () This is a the only daughter of singer and actor Bing Crosby from his second marriage to the to and, since , has been married to Mark Brodka, with whom she has two children. . led to a successful screen test in and then to a number of more. Jonathan Mark Shiff, better known as Jonathan M. Shiff, is an Australian We Saw That Day Anti-Magic Academy: The 35th Test Platoon Arata: The . actor Bing Crosby from his second marriage to the actress Kathryn Grant. and, since , has been married to Mark Brodka, with whom she has two children.
A musician was invited from Azerbaijan who played the main melody on a tar based on mughamaccompanied by orchestral background music written by Artemyev. As this gave Artemyev the impression of frozen space, he used this inspiration and created a background tone on his synthesizer similar to the background tone performed on the tambura.
The tar then improvised on the background sound, together with a flute as a European, Western instrument. These effects included modulating the sound of the flute and lowering the speed of the tar, so that what Artemyev called "the life of one string" could be heard.
Tarkovsky was amazed by the result, especially liking the sound of the tar, and used the theme without any alterations in the film.
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The opening sequence of the film showing Stalker's room is mostly silent. Periodically one hears what could be a train. The sound becomes louder and clearer over time until the sound and the vibrations of objects in the room give a sense of a train's passing by without the train's being visible. This aural impression is quickly subverted by the muffled sound of Beethoven's Ninth Symphony.
Gary Crosby (actor)
The source of this music is unclear, thus setting the tone for the blurring of reality in the film. In an interview with Tonino Guerra inTarkovsky said that he wanted "music that is more or less popular, that expresses the movement of the masses, the theme of humanity's social destiny. While the Stalker leaves his house and wanders around an industrial landscape, the audience hears industrial sounds such as train whistles, ship foghorns, and train wheels.
When the Stalker, the Writer, and the Professor set off from the bar in an off-road vehicle, the engine noise merges into an electronic tone. The natural sound of the engine falls off as the vehicle reaches the horizon. Initially almost inaudible, the electronic tone emerges and replaces the engine sound as if time has frozen.
In the film, for example, the three people undertake a long journey in a railway car. I'd like that the noise of the wheels on the rails not be the natural sound but elaborated upon by the composer with electronic music. At the same time, one mustn't be aware of music, nor natural sounds. The presence of the draisine is registered only through the clanking sound of the wheels on the tracks. Neither the draisine nor the scenery passing by is shown, since the camera is focused on the faces of the characters.
This disconnection draws the audience into the inner world of the characters and transforms the physical journey into an inner journey. This effect on the audience is reinforced by Artemyev's synthesizer effects, which make the clanking wheels sound less and less natural as the journey progresses. When the three arrive in the Zone initially, it appears to be silent. Only after some time, and only slightly audibly can one hear the sound of a distant river, the sound of the blowing wind, or the occasional cry of an animal.
Bing Crosby filmography | Revolvy
These sounds grow richer and more audible while the Stalker makes his first venture into the Zone, initially leaving the professor and the writer behind, and as if the sound draws him towards the Zone. The sparseness of sounds in the Zone draws attention to specific sounds, which, as in other scenes, are largely disconnected from the visual image.
Animals can be heard in the distance but are never shown. A breeze can be heard, but no visual reference is shown. This effect is reinforced by occasional synthesizer effects which meld with the natural sounds and blur the boundaries between artificial and alien sounds and the sounds of nature. While the camera slowly pans to the right, a waterfall appears.
While the visual transition of the panning shot is slow, the aural transition is sudden. As soon as the waterfall appears, the sound of the dripping water falls off while the thundering sound of the waterfall emerges, almost as if time has jumped. In the next scene Tarkovsky again uses the technique of disconnecting sound and visual image. While the camera pans over the burning ashes of a fire and over some water, the audience hears the conversation of the Stalker and the Writer who are back in the tunnel looking for the professor.
Finding the Professor outside, the three are surprised to realize that they have ended up at an earlier point in time.
This and the previous disconnection of sound and the visual image illustrate the Zone's power to alter time and space. This technique is even more evident in the next scene where the three travelers are resting. The sounds of a river, the wind, dripping water, and fire can be heard in a discontinuous way that is now partially disconnected from the visual image.
When the Professor, for example, extinguishes the fire by throwing his coffee on it, all sounds but that of the dripping water fall off. Similarly, we can hear and see the Stalker and the river. Then the camera cuts back to the Professor while the audience can still hear the river for a few more seconds. This impressionist use of sound prepares the audience for the dream sequences accompanied by a variation of the Stalker theme that has been already heard during the title sequence.
In an interview Tarkovsky dismissed the idea that water has a symbolic meaning in his films, saying that there was so much rain in his films because it is always raining in Russia. It can convey movement and a sense of change and flux. Here, as in the rest of the film, sound is constantly changing and not necessarily connected to the visual image.
The journey in the Zone ends with the three sitting in the room, silent, with no audible sound. When the sound resumes, it is again the sound of water but with a different timbre, softer and gentler, as if to give a sense of catharsis and hope.
The transition back to the world outside the Zone is supported by sound. The soundscape of the world outside the Zone is the same as before, characterized by train wheels, foghorns of a ship and train whistles.
The film ends as it began, with the sound of a train passing by, accompanied by the muffled sound of Beethoven's Ninth symphony, this time the Ode to Joy from the final moments of the symphony. As in the rest of the film the disconnect between the visual image and the sound leaves the audience in the unclear whether the sound is real or an illusion.
Officials at Goskinoa government group otherwise known as the State Committee for Cinematography, were critical of the film. The Goskino representative then stated that he was trying to give the point of view of the audience. I am only interested in the views of two people: The group's critics listed Stalker at 29, tied with the film Shoah. In Schager's view Stalker shows "something akin to the essence of what man is made of: This was used by Icestorm Entertainment on a DVD release, but was heavily criticized for its lack of the original language version, subtitles and had an overall bad image quality.
It contains the original Russian audio in an enhanced Dolby Digital 5. The DVD also contains subtitles in 13 languages and interviews with cameraman Alexander Knyazhinskypainter and production designer Rashit Safiullin and composer Eduard Artemiev.
Included in the special features is an interview with film critic Geoff Dyerauthor of the book Zona: Influence The Chernobyl disasterwhich occurred seven years after the film was made, led to depopulation in the surrounding area—officially called the " Zone of alienation "—much like the "Zone" of the film.
Some of the people employed to take care of the abandoned nuclear power plant refer to themselves as "stalkers". Lustmord , which has been noted for its eerie soundscapes and dark ambience.
Shadow of Chernobylan open-world, first-person shooter loosely based on both the film and the original novel. The film's setting is the thirties with the actors miming to 78s from that decade. This song is taken from the Philco Radio Time broadcast of March 31, Some Kind of Hero — Towards the end of the main character's imprisonment, the public address system broadcasts the Bing and Carol Richards Decca recording of " Silver Bells ".
Racing with the Moon — Popular songs of the era are played on the soundtrack including Crosby's Decca recording of " Moonlight Becomes You ". A Nightmare on Elm Street 2: One Magic Christmas — Bing's Decca recording of " I'll Be Home for Christmas " adds poignancy to a scene where the characters have a heart to heart talk in their kitchen.
It is Crosby's recording made for a Concord CD, although Burt Lancaster is shown placing a 78 on the record turntable. Radio Days — Woody Allen 's affectionate tribute to the golden days of American radio crams loads of music from the s and s onto the nostalgia provoking soundtrack.
The song has a significant part to play in the film's plot. As the end credits roll the Crosby vocal is reprised, followed by the lyrics being picked up by a childish voice intended to be that of the murdered girl. Christmas in Tattertown — This thirty minute cartoon was first shown on television in the US in The plot concerns a doll called Muffet who hates Christmas and the sentiment surrounding the season of goodwill. She is supported in her beliefs by a spider and a fly.
When Debbie, the doll's owner, plays Crosby's recording of "White Christmas" both spider and fly are reduced to tears. A further nod to the Crosby influence on Christmas comes at Griswold's darkest hour when the family guests pack to leave the disaster stricken house.
Chevy Chase bars their way, grits his teeth and says, "Nobody leaves. Hudson Hawk This American comedy thriller was the first major financial disaster of the s as far as Hollywood was concerned.
Bing's recording of " Swinging on a Star " plays a major part in the plot. He estimates the heist will take the length of time it takes to sing "Swinging on a Star". Oscar — In a scene in the first reel, Sylvester Stallone 's daughter Ornella Muti is showing her rebellious side. She is in retreat in her bedroom smoking and listening to Crosby's recording of " Sweet Georgia Brown ".
Anti-Semitism is an issue explored in the film and Crosby's vocal gives added poignancy in a sequence when a Neo-Nazi is interviewed. Mother Night — The Crosby Decca recording of "White Christmas" is played unedited over the credit titles at the film's beginning.
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Then, forty minutes into the action, there is a sequence set in New York in A display of Decca 78s is shown as the Nick Nolte character explains he has 26 copies of the Crosby disc which he obtained via the U. Confidential — About twenty minutes into the film there is a scene in a liquor store.
That song starts up as background music some thirteen minutes into the story. The latter song is used two-thirds through the story when actors Roy Scheider and Blythe Danner are preparing a turkey for the oven. Forever Hollywood — This fifty minute compilation ends with Crosby singing "Going Hollywood" from the film of the same name.