Blast of Silence (1960) Tonight!

[bryce]

This is a movie forum?

[Mr. Arkadin]

I think this thread could use a "blast of silence".

[moira finnie]

Ark,
I tried to watch Blast of Silence but wasn't able to see the entire film due to the lateness of the broadcast. I'll try to catch up with it asap and post some thoughts.
Thanks for bringing this movie to my attention.

[Mr. Arkadin]

Moira,
No biggie, we're all sharing our warped sense of humor here.

[Bronxgirl48]

Ark, BLAST OF SILENCE was a treat! Did you or anyone else think that not only did Alan Baron look a little like Robert De Niro, but the scenes of Bono knocking of Troiano, then on the rooftop, were reminicent of GODFATHER II? And some camera angles reminded me of Scorsese.

I have to say I got a little tired of Lionel's narration -- I mean, how many times can you say "lonely"? LOL

The Christmas "walks", with that beautiful cinematography and the New York locations, were fascinating. They had a dream-like, eerie quaiity.

Great opening -- loved the subway metaphor for birth.

[Mr. Arkadin]

The Christmas "walks", with that beautiful cinematography and the New York locations, were fascinating. They had a dream-like, eerie quaiity.

Great opening -- loved the subway metaphor for birth.

There is a film called Venus in Furs (1970) that works off many of the same ideas in Blast of Silence and takes the dream idea even further. Director Jess Franco claimed much of the story came from a conversation with drugged out Jazz trumpeter Chet Baker, but I would not be surprised if he was also inspired by BOS. In this film, a Jazz trumpeter falls in love with a murdered woman who comes back to life for him. To say any more would ruin the movie. It also features some great music from Manfred Mann.

Couple of clips:

[youtube][/youtube]

[youtube][/youtube]

[Bronxgirl48]

The plot of VENUS IN FURS sounds really intriguing. I don't think I've ever seen a Franco film. I understand he did a lot of horror movies.

[Mr. Arkadin]

It's somewhere between horror fantasy, exploitation, and revenge noir. Very dreamlike with voiceover and unique camerawork.

Here's a pretty good write-up on the film:

http://esotika.blogspot.com/2008/01/ven ... -1969.html

[Bronxgirl48]

Thanks!

[MissGoddess]

I watched this last night, finally. I liked some of the jazzy music in the score and can
appreciate that Allen Baron had an eye and probably could have made some good stuff
had he come along earlier. But I honestly didn't care for it, possibly because Baron as
an actor didn't engage me and I felt no empathy for his character, not even when he
was, momentarily, trying to change. The attempt seemed too transient and based
on an impulse rather than him wanting to make a real change for the right reasons.
He only seemed motivated by whether his palms were hot and sweaty or cold! Interesting
camera shots and jazzy music plus a lot of noirish "grit" from the director's P.O.V. is not
enough for me to get excited.

I don't understand making movies about people like this? Why? Unless you can find
some empathy or if it's a cautionary tale, but this seemed just like a documentary
of a hit-man. The ending was sad, deserved and depressing. It was like taking
a walk through the sewers. I guess that is its appeal???

It must be a guy thing.

I much preferred Something Wild.


But you sure can't say I don't give these films a chance!

[Ollie]

"Why make a movie like this?" This is the toughest question to ask. I don't give this high marks over all, but you touched on one of my critical factors for this - "I don't care for the main character - he does nothing to make me want to care for him." And when I consider his choice of vocation, well, that's tough. Baron either isn't the actor or the writer good enough to give me "caring for" reasons.

On the positive side, I think he doesn't care to impress me like that. So, I can appreciate his film-maker choices more than his character's behavior.

That still doesn't answer your question, "Why...?"

I think I compartmentalize the film's components, judging them individually, and giving them higher marks than the whole film attains, all put together.

When I was watching THE MAN BETWEEN, I kept asking myself this same question - Why? I think Carol Reed loved the shadowy bombed-out venues, and then he invented reasons to photo them, then put names on those people, then stories to get them to move from one location to another.

[Mr. Arkadin]

I don't understand making movies about people like this? Why?

The concept of Blast of Silence is much more than the actors, scenery/shots, or music. It's a state of realization about life and the solitude involved in living it. As for Baron not being engaging, you are correct. He does not want his character to be likeable or sympathetic. He is a faceless man who could be anyone or no one. This is simple existence where only the warmth of the body is indicative of function.

The opening referencing birth, the time spent in the city with Frankie silhouetted against its grandeur, and the close of the film are reminders of man's tiny stature in a large universe. In a world where people surround themselves with objects, diversions, and the affections of others, Blast of Silence is a reminder that we come into this life with nothing and we leave the same way. It also questions the meaning (or meaninglessness) of our existence while we're here. Do hopes and dreams really matter? Or if a tree falls in the forest does anyone hear it? It's all there in the title of the film.

[MissGoddess]

Arky you really see A LOT in this movie that clearly went sailing past my head (not difficult),
so I thank you for your answer which raises more questions if you don't mind.

Where in the movie are the questions that you say it raises? I don't get anything from the title except
a concentration on an event that we blessedly don't remember, at least consciously. I'm curious,
for real, as to where the questions are in the context of the film, because it seemed more
detached and "documentary" style to me. I didn't sense any point or point of view except
perhaps unrelenting grimness. Was this about so-called "fate"? Because I think I can see
how the filmaker was maybe saying it doesn't matter what you do because it's all written out
beforehand. A point of view I just don't think gels with logic but if that's what the movie is
getting at then OK but what about all the other mORE important "questions" that were totally
ignored? Like why did this man first take to killing people? Because he got mad at his employer?
Because of background? Because of the orphanage? So he was influenced by society and lack
of love? I can buy that, certainly, and the movie did clearly show how out of touch people have
become from their fellows, especially in cities. They say "merry christmas" to you in that phony
way and then heaven forbid you actually tell them a genuine tale of woe. Then it's "Oh, I didn't mean
to get into your life story buddy, gotta go!" Ha! I guess the movie did get that across with the
girl and what about his fellow peanut-pusher pal? He disappeared on him, too, didn't he? Hmmm...

[MissGoddess]

"Why make a movie like this?" This is the toughest question to ask.
When I was watching THE MAN BETWEEN, I kept asking myself this same question - Why? I think Carol Reed loved the shadowy bombed-out venues, and then he invented reasons to photo them, then put names on those people, then stories to get them to move from one location to another.

Hi Ollie!

That I can understand, as well. I wonder if it was a commentary on society, like Arkadin says. I guess I
can see that now. Thanks guys, I sometimes need to be "walked through" these...um...back alleys.

[Mr. Arkadin]

Hi Miss G, I'll try to keep this short. The movie is an expression of nihilism:

http://www.merriam-webster.com/dictionary/%20nihilism

This is also reflected in the title where the first and last words contrast and cancel each other out (It's also a reference to birth and death).

By questioning, I did not mean that someone actually asked questions, but that the film challenges conventional ideas that life has meaning.

You could call Blast of Silence the antithesis of It's a Wonderful Life (1946). In the fact that George learns that actions have weight and meaning and man has contact with the Divine, BOS counters with the idea that man is small, insignificant, and unloved. While George finds out that no man is alone who has friends, Frankie's life is shown to be one of utter loneliness. He is an orphan. He does not cultivate friendships because of the liabilities involved. By being faceless and nameless he is protected from the law, but he is also excluded from love or joy. His life and death have no meaning or purpose, and when he is dead, no one will know he existed.