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Wh
en John Wilson’s recording of Korngold’s Symphony in F sharp thundered out of its CD like a musical typhoon, I knew I’d found my personal record of the year. Few other conductors ‘get’ the sweep and bite of Korngold’s style to such a fine degree and the playing was simply awe-inspiring.
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Meeting the British conductor after a recording session with the same orchestra – his newly convened Sinfonia of London (SoL) – it strikes me that his affinity with this highly controlled yet extraordinarily intense music is possibly no coincidence: Wilson is rather that way himself. ‘All the music we’re playing is greater than any performance of it can be, so the goals are always out of reach and we’re just striving,’ he tells me. ‘We felt that in particular in the Korngold Symphony: it was so demanding, and we’re just reaching as high as we can.’
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9 February 2021
When is a noir film not a noir film? When are we allowed to say “Yes, this is noir” or “This is not noir”? In my opinion, Dear Reader, this question is as pointless as a debate between Jansenists and Calvinists on the theological implications of free will. Yet, the point comes up again and again among film buffs, as though there’s a prize.
In a sense, there is. As long as “film noir” is now a marketable genre, it pays when a studio or company can claim it, as opposed to just calling the thing a thriller or crime film or gloomy drama. What matters is that the film is almost always worth watching under any label.
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Fortunes, ferocity and revenge intermingle as father and daughter play high-stakes games against one another through financial and romantic relationships that can determine control of the sprawling spread aptly named The Furies.
Scheming Vance bides her time to take over dad’s kingdom, even aligning with enemies of her fathers including suitor Rip Darrow (Wendell Corey) and squatter Juan Herrera (Gilbert Roland), but T.C. also finds a new wife Florence Burnett (Judith Anderson) that might ultimately threaten her future plans.
Dripping with romantic schmaltz, bravado and Shakespearian crescendos while punctuated with a shoot-out, cattle drive and Franz Waxman’s furious, thriller musical score, “The Furies” is equal groundbreaking genre, blending Western as well as television soap opera.
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