I asked about the use of silence in the film, both with Marc Anthonys charachter, but also at the end of the film. I also asked about the motives of the main charachters.
The silence was rather noticeable in this film, or rather the lack of discussion. I noticed the sounds of shuffling feet, chairs being moved, pots and pans clanging, food cooking, and no back ground music. I think in a way this played a part in helping the viewers understand the characters. The brothers were involved in this business together but they each seem to have their own agenda. Secondo wanted the business to be successful, very successful. I think he wanted a life of higher luxury. Primo was happy creating the Italian food he loved so much and did not want to sacrifice that dream or lower his standard for the sake of success. To Primo it was appalling for Americans to think that spaghetti and meatballs was an Italian dish. He screams, "Do you know what happens in that restaurant every night? RAPE! RAPE!... The rape of cuisine." So I think the silence had to do with their self reflection and knowing that even though they were in this together they were really not together, but yet it was so difficult for them to express it or even openly admit it because they are family and family is most important to the Italian culture.
I think this is an interesting point because the silence didn't really stand out to me at first except for the beginning and the end, which didn't seem very unusual. I think that the quietness was used here for a realness, just like sound was. A scene that stands out to me is when Primo is describing the timpano to Phyllis. While they talk, Secondo is making a lot of noise in the back-- very distracting, but real.
I also think the reliability of the sound is a bit off. Often there was music playing that seemed to be diegetic, but later proved non-diegetic. In the transition from the car dealer scene to Secondo entering the the restaurant, there is music playing. Marc Anthony's character is seen dancing to it, but it immediately stops when Secondo enters. I don't think that technique was /wrong/ but it does emphasize the music (and there was quite a full soundtrack).
I agree that the final scene was a moment of contemplation. There was no need for any music (cultural imposition of sorts) to explain the characters. Their silence did that effectively.
They did play with the sound a bit, especially in the Mambo Italiano number, and the lack of any non-diegetic, "outside" interference in the closing scene, as Sara mentions.
I enjoyed the way the sound engineer did this film. It gave it more of a 50's feel. Slightly raw in some ways, but the silence seemed to make myself concentrate more on the film. Also what sound or background music there was, is important to the film. This really showed in the final scene of the film. The only words spoken were by Secondo as he walks into the kitchen and talks to Cristiano about making breakfast. That is it, I do not think that they needed any other words. Very neat and to the point as was the scene
The lack of dialogue coupled with the background music helped set the tone for the mood, but the physical acting sealed the deal. The way they interact with one another, physically and verbally let's the viewer "feel" the tension in the scene. Someone said somewhere on this blog that they thought Secondo was portrayed as being "bad." I don't feel the same. I look at it as polar opposites; one negative and one positive (not good or bad). Secondo has become "Americanized" and places value in money and tangible objects. His ability to keep the truth comes from his pride and not wanting to let his brother down. Primo is very traditional; he wants to keep close to his roots and values rituals and tradition.
The silence was rather noticeable in this film, or rather the lack of discussion. I noticed the sounds of shuffling feet, chairs being moved, pots and pans clanging, food cooking, and no back ground music. I think in a way this played a part in helping the viewers understand the characters. The brothers were involved in this business together but they each seem to have their own agenda. Secondo wanted the business to be successful, very successful. I think he wanted a life of higher luxury. Primo was happy creating the Italian food he loved so much and did not want to sacrifice that dream or lower his standard for the sake of success. To Primo it was appalling for Americans to think that spaghetti and meatballs was an Italian dish. He screams, "Do you know what happens in that restaurant every night? RAPE! RAPE!... The rape of cuisine."
ReplyDeleteSo I think the silence had to do with their self reflection and knowing that even though they were in this together they were really not together, but yet it was so difficult for them to express it or even openly admit it because they are family and family is most important to the Italian culture.
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ReplyDeleteI think this is an interesting point because the silence didn't really stand out to me at first except for the beginning and the end, which didn't seem very unusual. I think that the quietness was used here for a realness, just like sound was. A scene that stands out to me is when Primo is describing the timpano to Phyllis. While they talk, Secondo is making a lot of noise in the back-- very distracting, but real.
ReplyDeleteI also think the reliability of the sound is a bit off. Often there was music playing that seemed to be diegetic, but later proved non-diegetic. In the transition from the car dealer scene to Secondo entering the the restaurant, there is music playing. Marc Anthony's character is seen dancing to it, but it immediately stops when Secondo enters. I don't think that technique was /wrong/ but it does emphasize the music (and there was quite a full soundtrack).
I agree that the final scene was a moment of contemplation. There was no need for any music (cultural imposition of sorts) to explain the characters. Their silence did that effectively.
They did play with the sound a bit, especially in the Mambo Italiano number, and the lack of any non-diegetic, "outside" interference in the closing scene, as Sara mentions.
ReplyDeleteI enjoyed the way the sound engineer did this film. It gave it more of a 50's feel. Slightly raw in some ways, but the silence seemed to make myself concentrate more on the film. Also what sound or background music there was, is important to the film. This really showed in the final scene of the film. The only words spoken were by Secondo as he walks into the kitchen and talks to Cristiano about making breakfast. That is it, I do not think that they needed any other words. Very neat and to the point as was the scene
ReplyDeleteThe lack of dialogue coupled with the background music helped set the tone for the mood, but the physical acting sealed the deal. The way they interact with one another, physically and verbally let's the viewer "feel" the tension in the scene.
ReplyDeleteSomeone said somewhere on this blog that they thought Secondo was portrayed as being "bad." I don't feel the same. I look at it as polar opposites; one negative and one positive (not good or bad). Secondo has become "Americanized" and places value in money and tangible objects. His ability to keep the truth comes from his pride and not wanting to let his brother down. Primo is very traditional; he wants to keep close to his roots and values rituals and tradition.