source file: m1355.txt Date: Mon, 16 Mar 1998 08:08:00 -0800 Subject: review: The Last Laugh by Dean Drummond From: Xou Oxno Joe Monzo contributed this review to Juxtaposition Ezine. http://www.virtulink.com/immp/jux/j_index.htm The Last Laugh by Dean Drummond performed by Newband March 14, 1998 The Kitchen 512 West 19th New York, N.Y. 10011 Last night, Dean Drummond and his group Newband gave the New York premiere, at the Kitchen, of the classic German silent film "The Last Laugh" accompanied by his new score . The movie was filmed in 1924, directed by F. W. Murnau, and stars Emil Jannings as a hotel porter. Influenced by German expressionist art and film styles of the period, it is remarkable in that it eschews the use of printed language in title-boards (with two unavoidable exceptions), relying, to carry the story along, on what many of us modern-day viewers reacted to as overacting. In keeping with its emphasis on non-verbal visuals, the film also features many extraordinary and innovative camera shots, angles, and effects: among the most notable are the opening shot, taken from inside a descending glass elevator and looking out on the hotel lobby; one shot done out in the street where the entire hotel building hovers over Jannings as though about to fall on him (portraying his highly emotionally-charged state of mind at the time); and one where a neighbor's face appears grotesquely stretched and distorted as seen through Jannings' hung-over eyes. In brief, the movie portrays Jannings as an old man who exudes dignity and respect in his job as a doorman at the Hotel Atlantic. He parades proudly through his neighborhood in his extravagant uniform each vening after work. In a side story, his daughter gets married, and this happy occasion provides both the rationale for a very well-executed (and funny)drunken scene, and a poignant contrast to the dismal events about to come. Jannings' character has become too old and tired to carry the heavy baggage of the hotel's guests, so eventually he gets demoted to men's washroom attendant (the notice he reads is the first title board used in the film). This is a staggering blow to him, and he hides it from everyone he knows, until his wife makes a surprise visit to bring him goodies at his job, and finds out, unbeknownst to him. After his wife discovers that he's a washroom attendant, he comes home. His new son-in-law answers the door because his wife and daughter are too ashamed of him. Soon gossip spreads the news through his whole community, and he is ridiculed by all, family included. It seems there is nothing left for the old man to do but waste away the rest of his life, when suddenly the director surprises us with an ironic and hilarious twist near the end (announced by the second title board). Thus, the main players reap the fate sown by their respective good or bad karma. Drummond's music is written for an ensemble consisting of two instruments of his own invention, a few conventional ones, and several of Harry Partch's. The Drummond instruments are tuned to a 31-tone just-intonation scale, and are the Zoomoozophone, a marimba-like mallet instrument made of aluminum tubes and producing a soft, hollow sound, and the Juststrokerods, made of solid aluminum rods and producing a clear violin-like tone. The Partch instruments (tuned to the 43-tone just-intonation scale described in his "Genesis of a Music") required in this piece are the Bass Marimba, Bloboy, Boo, Chromelodeon, Diamond Marimba, both Harmonic Canons, Kithara, and Spoils of War. The standard instruments called for in the score are flute (one player on regular and alto), trumpet, and cello. The notes played on these three instruments had to be microtonally adjusted by the players. In addition, there was a Yahama DX-7 synthesizer (retuned with the help of the Grey Matter E! Board installed), hi-hat, suspended cymbal, and several other percussion instruments. The score evocatively reflects the contrasting moods of the film, particularly the drastic shift from the depths of the Porter's humiliation and despair to the happiness and humor of the final scene; in fact, the music was so well-fitted to this scene that I quite forgot about it as I watched the screen -- I consider this to be the best compliment a film score can receive. In several places, Drummond's score provides a realistic sound for one that appears prominently on screen: in one scene the Porter blows a whistle, represented by the flute; in another, the trumpet in the orchestra gives the sound for a man blowing on a trumpet in the courtyard while the Porter gets drunk and watches from the apartment above -- the microtonal inflections exquisitely reflected the inebriated state of Jannings' character. And in the lively scenes filmed in the street in front of the hotel and in the hotel lobby, Drummond's music is appropriately effervescent. Here and there a few "leitmotifs" can also be recognized, and all of this is bathed in the glowing sound resulting from Drummond's brilliant orchestration of this unique ensemble. It was also very refreshing to hear Partch's instruments giving off music sounding not even remotely like his. Two things I was very glad to witness post-performance: audience members were not prevented from wandering around and examining the instruments visually, and no-one from the audience abused the privilege by trying to touch anything. Drummond and the other performers also remained accessible for questions and conversation for a long time after the show, which was most welcome. The movie runs well over an hour, and except for the silent opening and closing titles (I thought that was kind of unusual), the music runs continuously from the opening shot to the end, and should be considered a major piece of Drummond's. This deserves to be released on video. Joe Monzo 3/15/1998 monz@uscom.com telephone 1 215 849 6723 -- * . D a v i d Beardsley .. xouoxnoREMOVE-THIS@virtulink.com * * * * I M M P & B i i n k! m u s i c . . * * * J u x t a p o s i t i o n Ezine . * * M E L A v i r t u a l dream house monitor * * * * * http://www.virtulink.com/immp/lookhere.htm * . . *