At one point, Ted, played by Jason Clarke, sits alone on a couch in the midst in the gathering, staring into space — in keeping with historical accounts of the senator, then 37, as still mired in grief for Bobby one year after he was killed. The movie stops short of suggesting an affair between them, but depicts their interaction as intense, the oddly intimate bond of two people not that well-acquainted but damaged by the same devastating loss. In the movie, they park the car somewhere and talk; Mary Jo seems to try and reach Ted through the fog of grief.
This echoes what we know about her — that she had told friends she was struggling, and could not return to D. Everyone who knows for sure is dead. Only Kennedy knew if what he later said was true, that he dove repeatedly underwater to try and rescue Kopechne, fighting the current, until he was too exhausted to continue. The filmmakers appear to reject this claim; in the movie, he gets onto dry land swiftly and then gets out of there fast. As in real life, he never stops to call the police, or even really considers it, until some 10 hours later, after the car is discovered in the water.
Those dark hours of inconceivable inaction are the defining juncture for the last surviving Kennedy brother. Clarke, his face at once granite-hard and ghostly transparent, captures some of the paralysis Kennedy described, as he oscillates between cold political calculation and basic human longing. Much of the film hews close to real events, with departures aimed at amping up the drama. The critical unknowns in this awful story — how long Kopechne survived inside the car, and whether Kennedy could have saved her by calling help at once — are decided for us here by the filmmakers.
As Ted soaks in the tub at his hotel, dresses nattily and combs his hair, we see Mary Jo still alive inside the car, banging on the windows, weeping and praying in an air pocket as the water inches higher and still no help arrives. John Farrar, the diver who recovered her body from the car, maintained his belief for decades that she did not die quickly by drowning, but suffocated after surviving for an hour or more in a pocket of air, based on the position of her body. Farrar said he received death threats for his insistence. To these filmmakers — whose story might have suffered from a more ambiguous telling — the possibility she lived long enough to be rescued is irresistible.
This is a thoughtful film, attentive to the facts, but it is a film — we understand that it will plug holes with its own inventions. Bregt maintains several film music related websites. In addition, he also supports and takes part in the promotion of the Film Festival of Ghent and the World Soundtrack Awards.
Bregt helps with the administration and hosting of the IFMCA website, but he is not involved in the voting process. After undertaking filmmaking studies, Olivier directed several short movies before turning to journalism, first in the fanzine world then later for regular magazines like Mad Movies.
In , Olivier created UnderScores, the number one French online magazine dedicated to film music, for which he still works today as editor in chief. He has also conducted many interviews with composers and others from the film music community. Panos Gkenas, Avopolis Greece Panos is the chief film music reviewer for www.
When he was 3, John Williams and a light-fingered alien showed him the way. Panos and his interest for movies grew up together, and he began writing about film music in Before that, he hosted and reviewed soundtracks on his site Radio Soundtrack FM for seven years. He has also interviewed several composers, exclusively for MainTitles, in correspondence with the Ghent Film Festival. Thomas lives in Belgium, and works for an insurance company. In he launched ScoringSessions.
In , he initiated and co-founded French webzine Underscores — le magazine de la musique de film the film music magazine for which he invests himself until today as vice-chief editor. Roger L. Hall , Film Music Review USA Roger is a film music historian, educator, composer and critic and has been the editor-in-chief of Film Music Review since its beginnings as an online e-zine in For over twenty years, Roger has been selecting what he considers the best film music CD releases of each year for his Sammy Awards.
He has also taught film music courses in college and adult education programs, and composed music and produced programs for radio and cable television. Bob has also worked as a programming and production assistant for the 23rd Amsterdam Fantastic Film Festival. He studied communication management, with journalism as a minor.
Real and Reel: The Education of a Film Obsessive and Critic
He also was member of Ubeda International Film Music Conference and made layouts for some printed magazines. Sergio also participates in radio and TV shows about movies in Malaga, Spain, and writes the soundtracks pages for a veteran Spanish printed magazine called Accion Cine Video. In he co-founded the Danish language webzine Planet Pulp where he also serves as webmaster and editor in chief. As such, over the past 12 years he has edited more than reviews and articles, focusing on films, film music, books, comic books, video games etc. Film music was an integral part of Planet Pulp since its inception, initially with a focus on music from horror films, science fiction and fantasy, but within the last couple of years with a broad outlook without editorial limitations to film genres.
Mogens has contributed liner notes to two releases from Danish film music label PlantSounds and hopes to do more in the future. Professionally, he works as an archaeologist. He is a father of three, aged , and thus constantly sleep deprived. This does not improve his driving, but works wonders for his sense of humour.
Kees Hogenbirk , Concertzender Netherlands Membership Committee Co-ordinator Kees started writing soundtrack reviews, score analyses and interviews with composers for a variety of Dutch newspapers and magazines during his university studies of History. With his Masters in Art History, Kees is also an art journalist, specializing in the relation between vision and sound.
Tom Hoover , Scorenotes USA Tom serves as producer, reviewer, and host for the multiple content features that are available on ScoreNotes, a site that was created to celebrate and promote the world of film, television and video game music. Established in , the site has gained notoriety for the ongoing Composer Interview series in audio , Film Music Suites, and the regularly updated Soundtrack Reviews. Ryan Keaveney , Cinemusic Canada For 10 years Ryan has designed, written for and edited the film music review site Cinemusic.
Since , through his design company klaatumedia. Ryan spent 8 years in the Toronto film and television industry as an assistant, most recently in when he assisted director Jaume Collet-Serra on the Warner Bros. He currently works in the interactive department for Corus Entertainment in Toronto, Canada. He has also written for Music4Games. His original music is published at www. Passionate and determined, Tom an audiophile is the same man who would then take apart the speaker at the drive-in theater and record the audio and who would later build his own amplifier from scratch.
Via a McIntosh amplifier, AR turntable, Teac recorder, and Klipsch speakers he would become addicted in achieving the perfect sound as well as amassing an out of control collection of material. Karol is the editor of film score criticism outlet Films On Wax, for which he writes regular soundtrack reviews and features, including interviews with such names as Dario Marianelli, Howard Shore and Abel Korzeniowski. Karol also runs behind-the-scenes film website The Assembly Cut. In the s, Larson edited and published CinemaScore: The Film Music Journal, which eventually merged with Soundtrack Magazine, for which Larson served as senior editor until its demise in Larson is the author of hundreds of articles in fields as diverse as music, fantasy and horror fiction literature, and has authored several books on these topics.
He specializes in examining music in science fiction, horror and fantasy films. Craig loves the sensibilities of these ages, which bear an amazing treasure trove of extraordinary scores. Craig is also celebrating the past with his ongoing series of critical reviews, which explores the history of Academy Award film score winners. Craig believes that to truly and fully appreciate the beauty of film score art today, you must first understand the wonder and glory from whence it came. John started his long love affair with film music back in after watching Lawrence of Arabia, after which he began to collect movie music and is still as passionate about it now as he was when he started to become interested, if not more so.
In the early ,s he imported LP records from Italy and supplied record shops in London and also Brighton. Started to write reviews in the early days of the Goldsmith society for their fanzine and this led to becoming actively involved with the first incarnation of Music from the Movies.
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He also wrote regularly for Soundtrack and because of this was commissioned by Derek Elley to write an article and filmography on Ennio Morricone for Variety, which led to him supplying the Variety International Film Guide of with the entire film music section, this included numerous profiles of film music composers. He has interviewed over 50 composers and still remains active in the area of composer interviews, always attempting to introduce new and young composers to collectors.
He has written extensively for various recording labels in Europe and the United States and supplied these with sleeve notes and also photography at recording sessions.
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He is a regular contributor to the run movies web site and also acts as co-ordinator for that site. His musical tastes vary, Italian, French and other Euro film music figuring large in his collection. But he also has an extensive and diverse collection of film scores over 5, which range from Korngold, Steiner, Barry etc to recent additions such as Daft Punk.
He has been writing film music reviews in earnest since for his own website Soundtrack Dreams. To date he has reviews to his credit. He enjoys collecting and has 2, film scores in his collection. She has worked as editor in chief for the classicalmusic. Since , she is devoted to spreading the love for film music and discovering new film composers, through her personal 2-hour radio show City Lights weekly on air via innersound-radio.
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Pablo has written hundreds of reviews for scoremagacine. Pablo orks for Spanish Film Companies and Spanish film composers as lawyer and legal assistant as well as filmmusic advisor. Massimo Privitera , Colonne Sonore Italy Massimo is a film music journalist from Catania, Sicily, the chief editor of the Italian film music web magazine ColonneSonore, which he founded in He graduated from the Cinema Laboratory in Rome, and has been works as promoter and copyright editor for Italian media companies such as Mediaset Sky and Channel 5.
He has also directed several short films and television programs for TV Mediaset and Rai. He has been a professional journalist since He started writing on this subject for several papers, publications, and for many conventions, concentrating on the music in the cinematographical works of Kubrick, Sergio Leone, Dario Argento, Wes Craven, Giuseppe Ferrara, John Carpenter, Clint Eastwood et al. Presently Roberto is collaborator to the online periodical colonnesonore.
Dimitri also works as an actor, does voice dubbing in films, and is industrial engineer in computer science. His interest in film music has grown ever since. Alan has been writing about film music for a number of years and has contributed to a number of film review websites.
His most recent activity has been as a reviewer for MainTitles. Alan currently lives in Wales, UK with his wife and two children and works as a freelance consultant to national and international medical device companies. Johannes is currently in his final year of study for a degree in English Literature at the University of Cambridge. Mike Rumpf , Filmmusik Germany Mike is the editor of the German-language online film music magazine Filmmusik He has written reviews and articles on current and classic film scores since the year Mike works as a software developer in Kiel, Germany.
Asier G. He fell in love with film music at a very early age when he discovered the magic of a great symphonic melody during the early eighties, and since then music became the oxygen of his life. Since then he interviewed many of his film music heroes and heard a lot of good music. Apart from his work for Cinema Musica, he works as a freelance film journalist.
Oscar is also part of the organzing committee for the annual International Film Music Festival which takes place in Ubeda, Spain, every July since During this time at university, he wrote soundtrack and film reviews for At the Movies, a now defunct site that was set up by fellow students.
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