Peter Weir is Australia's greatest gift to cinema. His film "Picnic at Hanging Rock" might not have been as evocative without Pan's Song recorded by Bruce Smeaton.
In 'The Year of Living Dangerously', Weir again chooses his fascinating music. I am not sure if I should be complimenting Maurice Jarre at all because I found out after some research that Weir's film really uses the work of Vangelis' "Opera Sauvage" as soon as the relationship between Gibson and Weaver develops and continues with it to the end. Weir, who should be knowing his sources, got the wrong work of Richard Strauss credited in the film. Yet the Weir's choice of music is impeccable and his source of strength. I will always remember Weir's films for their fine music.
The film's subject is the work of novelist C J Koch while the public has praised Weir for the fine story and the justifiable references to Luke 3:10 while referring to the then existing scenario in Indonesia. Instead I applaud Weir for his contribution to pick the fine cast of Australian Gibson, American Weaver who plays a credible Brit, and the wonderful Linda Hunt to play a male character. I also commend the Russell Boyd's cinematography whose collaboration with Weir has resulted in interesting cinematic work.
Weir, the director, has a penchant for picking up good material to film, but I am convinced that his films made in Australia and this one rank above those he made in the US. This is true for both Weir and Bruce Beresford. In comparison, Beresford was artistically more successful in the US with less publicized work "Tender mercies" and "King David" than Weir with a poor "Truman show" and an average "Witness" In my view, Weir's early work was more earthy and philosophical, while his later work is more abstract and commercial. Yet, I patiently wait for a return of the "early" Peter Weir that provided us a heady cocktail of realism, philosophy, music and fascinating subject matter.
In 'The Year of Living Dangerously', Weir again chooses his fascinating music. I am not sure if I should be complimenting Maurice Jarre at all because I found out after some research that Weir's film really uses the work of Vangelis' "Opera Sauvage" as soon as the relationship between Gibson and Weaver develops and continues with it to the end. Weir, who should be knowing his sources, got the wrong work of Richard Strauss credited in the film. Yet the Weir's choice of music is impeccable and his source of strength. I will always remember Weir's films for their fine music.
The film's subject is the work of novelist C J Koch while the public has praised Weir for the fine story and the justifiable references to Luke 3:10 while referring to the then existing scenario in Indonesia. Instead I applaud Weir for his contribution to pick the fine cast of Australian Gibson, American Weaver who plays a credible Brit, and the wonderful Linda Hunt to play a male character. I also commend the Russell Boyd's cinematography whose collaboration with Weir has resulted in interesting cinematic work.
Weir, the director, has a penchant for picking up good material to film, but I am convinced that his films made in Australia and this one rank above those he made in the US. This is true for both Weir and Bruce Beresford. In comparison, Beresford was artistically more successful in the US with less publicized work "Tender mercies" and "King David" than Weir with a poor "Truman show" and an average "Witness" In my view, Weir's early work was more earthy and philosophical, while his later work is more abstract and commercial. Yet, I patiently wait for a return of the "early" Peter Weir that provided us a heady cocktail of realism, philosophy, music and fascinating subject matter.