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Rating: Among the fancifully appreciated and then consecrated films in the (micro)history of the third (when talking about [cahiers du]cinéma, a bit of French - they say - is very chic) and last edition of the 'Tribeca Film Festival'* we also find the musical-celluloid construction named "The Treatment", which on the purely soundtrack side, affirms/confirms the masterful (or high school-level, You Decide) plunderphonic talent of the multi-award-winning sound-editor-in-chief Sir Giovanni (also) Zorn.
Permanently assisted and surrounded by the usual large congregation of tenacious musicians naturally endowed with exquisite performance class and hailing from the most diverse sound-extractions, this time the ultra-workaholic Giuà composes and orchestrates (as usual) everything for such an excellent quartet ** assembly of pentagrammatic and cheerful companions.
In truth (I tell you) I did not have the chance to horizontally scrutinize such potentially intriguing film [upon optical viewing it could indeed turn out to be the classic, Fantozzian Battleship/Potemkin affair, who can say?], but let me mystically affirm that if the average level of the immortalized images comes even perceptibly close to the joyful, sparkling, convoluted, often fluttering scores contained therein, we should/could also find ourselves appreciating a very fine (and enjoyable) feature film.
No sound-destruction is devised and/or carried out within the twelve tracks contained in the recent, XVIIIth and (temporary) last Volume of the Zornian Film Music Series, rather an aquatic, gurgling, at times slippery and enjoyable half-hour of pleasing and finely [precisely] cinematic sound-trinket scores: the most joyful overlaps/timbral colloquies between the fluttering, Piazzollian accordion and the liquid vibraphonic sound, underscored by the incessant, dynamic yet wavering double bass work ("Marking Time", "Rush Hour") constitute spectacularly and simultaneously balanced jewels in which the violin flickerings Feldman-like flit gypsy-like {"Why Me?"} at times sharply, more often gracefully.
The only semi-insignificant critical point I feel like stating is related to a moderate uniformity and veiled repetition of the same formula throughout the development of the entire tracks; that is, there are no particular mutations in the main timbre-structural theme: it is true that, since it is a matter of having to sonically mark a defined film proposal, this aspect deliberately underscores the intentions of the fragmented composition.
In any case, the sly and lunar "Romance" or the sparkling and joy-spreading "Happy ending" (during its sparse two minutes) manage (undoubtedly) to reconcile with the surrounding human globe.
And does it seem so little to you (I wonder as well as would say)?
* moderately independent international film festival conceived and directed by Mr. Robert De Niro, owner (precisely) of Tribeca Productions, which hosted [in the last edition (as many as)] 274 films from 40 different countries.
** Mr. Mark Feldman on the violin; Monsieur Kenny Wollesen on the vibraphone; Herr Rob Burger on the accordion; Señor Shanir Ezra Blumenkranz on the double bass, plus a guitar cameo by the phantasmagoric Don Marc Ribot (in track no. four)
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