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Stop for Bud

Stop for Bud

1963-12-17 (62 ساڵ و 9 مانگ و 7 ڕۆژ لەمەوبەر دەرچووە) 6.9 1 بینەر 12 خولەک بۆ خێزان گونجاوە
فیلمی دیکۆمێنتاری Music
Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

دەرهێنەر

Ole John

باری بەرهەم

ئازاد کرا

تەنها تریلەر

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وڵاتی دۆزراوە: US

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هەڵسەنگاندن و پاشەکەوت

لێرەدا بەدڵبوون، هەڵسەنگاندن و پاشەکەوتکردنی فیلمەکان بە باشی کار دەکات.

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تەنها تریلەر

US

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بچۆ ژوورەوە بۆ هەڵسەنگاندن، بەدڵبوون، پاشەکەوتکردن و کۆمێنتکردن.

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Stop for Bud

Stop for Bud

بەرواری بڵاوبوونەوە: 17ی کانوونی یەکەمی 1963
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ژانەر: بەڵگەنامەیی - مۆسیقا
ئەکتەرە سەرەکییەکان:
Bud Powell
Dexter Gordon
Niels-Henning Ørsted Pedersen

کورتە: Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

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