Masterclass with Carl Davis reviews
Review by on 22 Sep 2008
Carl Davis clearly enjoys what he does and has amassed an impressive, multifarious body of work in his career. The composer has a particular interest in scoring silent films and embraces the challenge of making these seemingly ‘archaic’ films, with their out-dated conventions – that can be an insurmountable barrier for modern audiences – accessible for everyone. Davis takes particular care with Chaplin who was known to ‘lalala’ his accompaniment ideas to his musician and careful thought is given to the filmmaker’s original musical style and era. Seven weeks of work went into scoring Chaplin’s BEHIND THE SCREEN.
One of Chaplin’s ‘Mutuals’, BEHIND THE SCREEN is delightful. Chaplin (as David) is in top form playing assistant stagehand to the massive, lazy Goliath who takes credit for all David’s hard work. In a scene as well – or better – choreographed than a ballet, Chaplin ‘dances’ with a prop pillar displaying his (seemingly) effortless comical physical prowess. The Tramp’s energy in this scene is greater than that of the score; however, the strings during the meticulous bear grooming scene and the horns over the onion munching lunch scene are spot on. The impromptu percussive jam session performed by David on Goliath’s empty pie plates comes suddenly alive with Davis’ musical sound effects.
Slapstick is at its best with hammers, custard pies, and trap doors all coming into play. BEHIND THE SCREEN serves as a sharp reminder that this standard of choreography and expert acrobatics is missing in most of today’s physical comedies.
Jennifer Oey, Festival Daily
Carl Davis clearly enjoys what he does and has amassed an impressive, multifarious body of work in his career. The composer has a particular interest in scoring silent films and embraces the challenge of making these seemingly ‘archaic’ films, with their out-dated conventions – that can be an insurmountable barrier for modern audiences – accessible for everyone. Davis takes particular care with Chaplin who was known to ‘lalala’ his accompaniment ideas to his musician and careful thought is given to the filmmaker’s original musical style and era. Seven weeks of work went into scoring Chaplin’s BEHIND THE SCREEN.One of Chaplin’s ‘Mutuals’, BEHIND THE SCREEN is delightful. Chaplin (as David) is in top form playing assistant stagehand to the massive, lazy Goliath who takes credit for all David’s hard work. In a scene as well – or better – choreographed than a ballet, Chaplin ‘dances’ with a prop pillar displaying his (seemingly) effortless comical physical prowess. The Tramp’s energy in this scene is greater than that of the score; however, the strings during the meticulous bear grooming scene and the horns over the onion munching lunch scene are spot on. The impromptu percussive jam session performed by David on Goliath’s empty pie plates comes suddenly alive with Davis’ musical sound effects.
Slapstick is at its best with hammers, custard pies, and trap doors all coming into play. BEHIND THE SCREEN serves as a sharp reminder that this standard of choreography and expert acrobatics is missing in most of today’s physical comedies.
Jennifer Oey, Festival Daily
Review by on 22 Sep 2008
It was a real shame that the Festival hadn't arranged with Carl Davis for him to take audience questions at the end. Here's a musician of great breadth and experience at the top of his form - and a wonderful communicator too - and this session really didn't make the most of those talents. An opportunity missed.
It was a real shame that the Festival hadn't arranged with Carl Davis for him to take audience questions at the end. Here's a musician of great breadth and experience at the top of his form - and a wonderful communicator too - and this session really didn't make the most of those talents. An opportunity missed.
Review by on 20 Sep 2008
Short but sweet. I've long admired Carl Davis' scores for the masterpieces of the silent era, which have helped to revitalise this era of cinema; so it was a joy to hear the man himself talk about the art of composing for silent films. Not only this, we were also treated to a Chaplin two-reeler which Davis had scored. It was all over rather quickly, but nevertheless, very enjoyable.
Short but sweet. I've long admired Carl Davis' scores for the masterpieces of the silent era, which have helped to revitalise this era of cinema; so it was a joy to hear the man himself talk about the art of composing for silent films. Not only this, we were also treated to a Chaplin two-reeler which Davis had scored. It was all over rather quickly, but nevertheless, very enjoyable.
Film details
Masterclass with Carl Davis
MUSIC AT THE MOVIES / SPECIAL EVENTS
UK, 2008.
120 mins. English.
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