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Tour Planned For 'The Artist' With Screenings Accompanied By A Live Orchestra

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by Kevin Jagernauth
December 16, 2011 6:13 PM
1 Comment
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If you thought the buzz on "The Artist" has reached its peak, you've got it all wrong, as it's only just beginning. Scooping up a handful of awards from various critics and leading the charge at the Golden Globes, if everything goes according to plan for The Weinstein Company, they'll have a movie sensation that will span the globe.

In case you weren't already aware, the film by Michel Hazanavicius is a silent movie -- that's right, no dialogue -- in black and white that has no less charmed audiences ever since its debut at Cannes. With some serious awards season weight behind it, "The Artist" is now adding another chapter to its extraordinary journey. Composer Ludovic Bource and the Weinsteins are plotting a tour of the film that will take it to New York, Los Angeles, Paris, Brussels, London and Geneva with screenings accompanied by a live orchestra. How, serious is this? According to Billboard, Bource has turned down three jobs in order to prepare for the live showings.

It's a pretty great idea, and will add another dimension to an already magical film. For those of you have seen silent movie screenings, the musical accompaniment can generally range from a single piano player to unique events featuring musicians or bands, performing live to the movie. But we can't remember the last time a live orchestra tour was put together for a silent film and it's a pretty exciting proposition. Of course, it doesn't hurt that Bource's score was one of our favorites of the year, that paid homage to great composers like Bernard Herrmann, Alfred Newman, Cole Porter and George Gershwin, while creating  a wholly original piece of work that is almost a whole other character in the film.

No word yet on dates or venues, but you might want to get your tux ready to do it in style.

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1 Comment

  • James | December 16, 2011 7:08 PMReply

    Bource's score doesn't really pay homage to Bernard Herrmann, the final cue in the film -is- actually the cue "Scene d'Amour" from Herrmann's Vertigo score. It's not the film recording from 1958, but a re-recording by Elmer Bernstein from 1993. It seems Hazanavicius fell in love with his temp track there. The soundtrack album features Bource's imitation of it as the next to last track, though his piece was jettisoned in the end for the licensed real thing.

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