Difference between revisions of "Duffer"
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From its running voice-over to the weird, artificial background tape-loops of passing traffic, the entire <I>Duffer</I> | From its running voice-over to the weird, artificial background tape-loops of passing traffic, the entire <I>Duffer</I> | ||
| − | soundtrack is a piece of sound art, combining MacDermot's compositions with more avant'garde interventions, such as the acrid, Ligeti-like high-string dissonances when Louis Jack is draping worms on Duffer's stomach, or the ghastly Moog synthesizer buzz that flares up when Duffer spies Your Gracie entertaining a client. | + | soundtrack is a piece of sound art, combining MacDermot's compositions with more avant'garde interventions, such as the acrid, Ligeti-like high-string dissonances when Louis Jack is draping worms on Duffer's stomach, or the ghastly Moog synthesizer buzz that flares up when Duffer spies Your Gracie entertaining a client.<ref name=thrower>DVD sleeve notes by Stephen Thrower.</ref> |
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Also riding high at the time was composer Galt MacDermot, whose career in musical theatre reached its peak in 1967 with the controversial hit, Hair. | Also riding high at the time was composer Galt MacDermot, whose career in musical theatre reached its peak in 1967 with the controversial hit, Hair. | ||
| − | MacDermot, a friend of Dumaresq's, contributes a smattering of musical interludes for piano which greatly assist the film's trajectory from downbeat weirdness to fragile charm, concluding with a mournful nocturne that almost succeeds in making the South Bank's concrete architecture (where the final scenes were shot) sing with a sweet ache of sorrow and resignation. Add to this some electronic contributions from the BBC Radiophonic Workshop's celebrated Delia Derbyshire, working off-the-record here, and you have a soundtrack that graces every beat of a complex emotional journey, rounding off a truly accomplished debut feature. | + | MacDermot, a friend of Dumaresq's, contributes a smattering of musical interludes for piano which greatly assist the film's trajectory from downbeat weirdness to fragile charm, concluding with a mournful nocturne that almost succeeds in making the South Bank's concrete architecture (where the final scenes were shot) sing with a sweet ache of sorrow and resignation. Add to this some electronic contributions from the BBC Radiophonic Workshop's celebrated Delia Derbyshire, working off-the-record here, and you have a soundtrack that graces every beat of a complex emotional journey, rounding off a truly accomplished debut feature.<ref name=thrower/> |
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| − | There were certain night scenes where I felt the new synthesizer machine at the BBC Radiophonic Workshop would be effective. Radiophonics supplied several effects which I laid over the appropriate sequences; they worked extremely well. | + | There were certain night scenes where I felt the new synthesizer machine at the BBC Radiophonic Workshop would be effective. Radiophonics supplied several effects which I laid over the appropriate sequences; they worked extremely well.<ref name=thrower/> |
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| − | Sounds of rushing wind and electronic howls dominate the scene, part of a very experimental sound collage that includes the rantings of Louis Jack and the electronica (momentarily simulating traffic in one scene - four years before Kraftwerk would turn such sounds into a new form of pop) of the BBC Radiophonic Workshop's Delia Derbyshire. | + | Sounds of rushing wind and electronic howls dominate the scene, part of a very experimental sound collage that includes the rantings of Louis Jack and the electronica (momentarily simulating traffic in one scene - four years before Kraftwerk would turn such sounds into a new form of pop) of the BBC Radiophonic Workshop's Delia Derbyshire.<ref>Frank Collins on [http://www.cathoderaytube.co.uk/2011/01/british-cult-classics-duffer-moon-over.html Cathode Ray Tube].</ref> |
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* [http://7doorshotel.blogspot.com/2011/03/despins-dumaresq-duffer.html A detailed article about the film's producers and plot], though with no mention of Delia. | * [http://7doorshotel.blogspot.com/2011/03/despins-dumaresq-duffer.html A detailed article about the film's producers and plot], though with no mention of Delia. | ||
* [http://www.imdb.com/title/tt0217405/ The IMDb entry for Duffer] | * [http://www.imdb.com/title/tt0217405/ The IMDb entry for Duffer] | ||
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| + | =References= | ||
| + | <references/> | ||
[[Category:Film]] | [[Category:Film]] | ||
[[Category:Piece]] | [[Category:Piece]] | ||
Revision as of 22:53, 22 May 2016
The sleeve notes for the DVD of a 1971 film Duffer, released in early 2011 as part of the British Film Institute's "Flipside" series, say that Delia provided sound effects for it:
From its running voice-over to the weird, artificial background tape-loops of passing traffic, the entire Duffer soundtrack is a piece of sound art, combining MacDermot's compositions with more avant'garde interventions, such as the acrid, Ligeti-like high-string dissonances when Louis Jack is draping worms on Duffer's stomach, or the ghastly Moog synthesizer buzz that flares up when Duffer spies Your Gracie entertaining a client.[1]
Also riding high at the time was composer Galt MacDermot, whose career in musical theatre reached its peak in 1967 with the controversial hit, Hair. MacDermot, a friend of Dumaresq's, contributes a smattering of musical interludes for piano which greatly assist the film's trajectory from downbeat weirdness to fragile charm, concluding with a mournful nocturne that almost succeeds in making the South Bank's concrete architecture (where the final scenes were shot) sing with a sweet ache of sorrow and resignation. Add to this some electronic contributions from the BBC Radiophonic Workshop's celebrated Delia Derbyshire, working off-the-record here, and you have a soundtrack that graces every beat of a complex emotional journey, rounding off a truly accomplished debut feature.[1]
There were certain night scenes where I felt the new synthesizer machine at the BBC Radiophonic Workshop would be effective. Radiophonics supplied several effects which I laid over the appropriate sequences; they worked extremely well.[1]
Sounds of rushing wind and electronic howls dominate the scene, part of a very experimental sound collage that includes the rantings of Louis Jack and the electronica (momentarily simulating traffic in one scene - four years before Kraftwerk would turn such sounds into a new form of pop) of the BBC Radiophonic Workshop's Delia Derbyshire.[2]
Credits
- Writer: William Dumaresq
- Directors: William Dumaresq and Joseph Despins
- Music: Galt MacDermot
- Sound effects: BBC Radiophonic Workshop
Availability
- The DVD of the film can be bought from the British Film Institute's filmstore, Amazon, MovieMail and play.com
External links
- A detailed article about the film's producers and plot, though with no mention of Delia.
- The IMDb entry for Duffer
References
- ↑ 1.0 1.1 1.2 DVD sleeve notes by Stephen Thrower.
- ↑ Frank Collins on Cathode Ray Tube.
