Manafonistas

Many of the movies I once saw stand alone in my memory as something of worth ’n impact then, something they had lost later by becoming nostalgic, and it is not so easy to name the exceptions. Why? I didn’t see them again in ages, so I might give them old days‘ extra value. Then, being in the movies again for their ancient glory, they so often disappoint – full scale. Why do great rock albums age better? What once was a blessing, turns into a boring dejavue. Even classics. So, out of respect, I leave them in the archives of my mind, the only place they may still cast a spell, send a shiver, or stop time in all their long gone breathless moments. Well, one exception: „La Nuit Americaine“ by Francois Truffaut. And another two ones: „The Long Goodbye“ and „California Split“ by Robert Altman. Coming  to the 21st century, the „crossroads century“ where mankind and madmen will finally destroy the world (if there is no rethinking of global measure – but how, if you can manipulate minds so easily by networks specialised on spreading lies in chosen channels – before any heuristic truth and reason can intervene) great movies are still made standing the test of time at least because of being still fresh in the mind. So here’s another one from our series of the best movies of the 21st century: THE REVENANT. Pure Jack London territory (though not written by him), and apart from all its qualities, it is not at least the music by Noto & Sakamoto that does a great job here, a music that even works when being separated from the visual experience. And what a rotten place the world can be, the likes of Jack London only knew to well. The music could freeze to the icy ground or raise the level of anger, but most of the time it worked as a tricky beast in the wilderness, entering zones between what is seen and unseen, felt and not felt. And, in the end, best question: how can a music with so many icy thrills and high pitches, deliver a kind of warmth again and again, something being immersed by is no test of courage, but a heartfelt affair. In parts, at least. Oh, I also loved the „blaxploitation goes spagetti western“- O.S.T. of „Luke Cage, Season One“. Fucking expensive on vinyl. Another story.