Old Hollywood
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
A Clockwork Orange (1971, dir. Stanley Kubrick) Scene here. “It had been a wonderful evening and what I needed now, to give it the perfect ending, was a little of the Ludwig Van. Oh bliss! Bliss and heaven! Oh, it was gorgeousness and gorgeousity made flesh. It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now. As I slooshied, I knew such lovely pictures!”

A Clockwork Orange (1971, dir. Stanley Kubrick) Scene here.

“It had been a wonderful evening and what I needed now, to give it the perfect ending, was a little of the Ludwig Van. Oh bliss! Bliss and heaven! Oh, it was gorgeousness and gorgeousity made flesh. It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now. As I slooshied, I knew such lovely pictures!”

via the Beethoven sequence from A Boy Named Charlie Brown (1969, dir. Bill Melendez), which can be seen here. “The centerpiece of the film from a visual standpoint is the scene where Schroeder plays Beethoven’s sonata Pathetique. We are treated to an extraordinary visual collage which borders on the psychedelic, a collage which aptly suggests how music might really come alive inside the creative mind. The swirling colors, quick glimpses of real locations and personalities, and heady rhythmic editing all make for a rather breathtaking sequence, reminding one that, although largely forgotten now, A Boy Named Charlie Brown was considered a popular “head film” of its day. This sequence alone certainly suggests that the film might have been enjoyed by anyone of a certain higher mind, along with films such as Yellow Submarine.” (via)

via the Beethoven sequence from A Boy Named Charlie Brown (1969, dir. Bill Melendez), which can be seen here.

“The centerpiece of the film from a visual standpoint is the scene where Schroeder plays Beethoven’s sonata Pathetique. We are treated to an extraordinary visual collage which borders on the psychedelic, a collage which aptly suggests how music might really come alive inside the creative mind.

The swirling colors, quick glimpses of real locations and personalities, and heady rhythmic editing all make for a rather breathtaking sequence, reminding one that, although largely forgotten now, A Boy Named Charlie Brown was considered a popular “head film” of its day. This sequence alone certainly suggests that the film might have been enjoyed by anyone of a certain higher mind, along with films such as Yellow Submarine.” (via)