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Topic Summary

Posted by: BoyScoutKevin
« on: September 16, 2010, 11:49:11 PM »

This makes me wish I had seen "Lisztomania," if only to see if the dialogue is as bad as it is represented to be. For, I have always found one of the strengths of Russell's films is the dialogue. And I am looking forward to seeing any excerable examples you may find in the film.
Posted by: Iain Fisher
« on: September 02, 2010, 01:42:40 AM »

I'm rereading parts of Ken Hanke's biograpghy of Ken, mainly about Lisztomania because I want to start a major analysis of the film shortly (well that's what I want- lets see how it turns out).  But I came across:

"Lisztomania is Russell's single most dialogue-oriented film... yet it contains the most horrendous dialogue exchange in any of his films up to this point... his words are abrasive and stilted..."

I'll try and see if I can find examples to continue the discussion and see if people agree or disagree.  On Ken's strengths as a scriptwriter he can take complex works (Women in Love, The Devils) and pull out the essence and make a coherent film of them- I think that is is major strength in writing.  Even when he makes minor changes to the plot (Tommy) they are good.
Posted by: BoyScoutKevin
« on: August 30, 2010, 10:30:45 PM »

If Daltrey is correct, and Ken can't write dialogue, then who wrote the dialogue for "The Rainbow," "Valentino," "Mahler," and especially "Lair of the White Worm" and etc. etc.?
Posted by: Iain Fisher
« on: August 22, 2010, 02:26:38 PM »

You can hear it here

I liked it, though the contributions (Melvyn Bragg, Pete Townsend, Roger Daltry, Twiggy, Glenda Jackson phoning from parliament, Peter Maxwell Davies phoning from the remote Scottish island Orkney) were on the short side.

Roger Daltry brought out that Ken can't write dialogue and I liked Melvyn Bragg on The Debussy Film.
Posted by: richmond74
« on: August 22, 2010, 01:33:40 PM »

I don't know what anyone else thought about this programme, but it was pretty much a wasted opportunity with little-to-no new insights into Russell's musical knowledge and the structure of the thing was so gimmicky with the parallel studios. Anyone actually get something from it?
Posted by: Apuleius
« on: August 17, 2010, 03:42:01 PM »

An interview with Mark Kermode about Mr.Russell's love of music. With contributions from the likes of Sir Peter Maxwell Davies, Twiggy, Melvyn Bragg etc.