On the lightly snowy evening of January 6, in Dublin, elderly spinster sisters Kate and Julia and their niece, Mary Jane - all music teachers or performers, past or present - are hosting their annual Epiphany party and dinner, and, with the exception of Mary Jane's new crop of students and the young gentlemen tasked with keeping them company, most of the guests have attended in previous years.
Kate and Julia's nephew Gabriel and his wife Gretta hold integral roles for the evening, Gabriel, who, in addition to being Freddy Malins' caregiver if he gets too drunk as is often the case, is to carve the dinner goose and provide the evening's main toast, while Gretta is to present the pudding. With the added unexpected excitement provided by Irish nationalist Molly Ivors for Gabriel, the party basically goes according to script.
As most of the guests have departed and just before Gabriel and Gretta are to do the same - this year they staying in a downtown hotel instead of making the long trek to their suburban home and children - something happens to makes Gretta enter into a moment of deep reflection. Gretta confessing the cause and the item of reflection later at the hotel to Gabriel leads to Gabriel, as a culmination of the evening's sum total of events, also entering into reflection, about his and Gretta's marriage, and about life and death in general.
A vast, merry, and uncommon tale of love. Did you know Edit. Quotes [last lines] Gabriel Conroy : [voice over] One by one, we're all becoming shades. Alternate versions Ten minutes of the film have been omitted from the DVD release. User reviews 65 Review. Top review. They just don't make them like this anymore!
An exquisite film. They just don't make them like this any more! We eavesdrop on an upper middle class family in Dublin in the early part of the 20th century.
They are hosting an after Christmas dinner for their friends and relatives. Their table talk is just idle chatter but it is so well written that one is engrossed. Away from the dinner table some fine piano playing helps to create an intimate atmosphere as if one were there as one of the guests.
Perhaps a bit too perfect for an amateur player, the odd mistake here and there would have added to the magic of this film. Wiltzie's nocturnal musical fumblings. Many of these songs would have been beginnings to new SOTL tracks, but he felt as if they were too aggressive for the new Lid record, which is still being recorded as we go to press.
Christina Vantzos is a filmmaker and video artist whose work has been shown in film, music and art festivals in Baltimore, Kansas City, Chicago and Brussels. She has accompanied musicians as a VJ and is working on a video documentary on teenage life in Scotland. Paul Sandell. Eric Gedenk. Ryan Berkebile. Sean Carruthers.
Levi McConnell. Adam Scott Neal. Sloat Fresno. Purchasable with gift card. Sold Out. The Six Million Dollar Sandwich Glen's Goo A Chronicle of Early Failures - Part 1 A Chronicle of Early Failures - Part 2 Taco de Macque Aegina Airlines La Ballade d'Alain Georges And it is, though "aggressive" is a relative term when applied to music that sits upon the brink of consciousness.
Wiltzie doesn't depart dramatically from SOTL's most recent full-length, The Tired Sounds of Stars of the Lid ; he employs similar two-chord repetitions, swells of stacked-fifths, and utilizes many of the same timbres-- swirling string-quartet drones and effects-laden piano.
But as The Dead Texan, Wiltzie's music takes on a more composed quality. It cycles through complete chord progressions, allows steady rhythmic pulses, lets loose just a little bit of dissonance, and occasionally overlays vocals or an instrumental melody. His drones are accented with acoustic and slide guitars, as well as occasional samples and sine waves. While by no means traditional songs, the pieces of The Dead Texan thus feel at least like miniatures-- more manageable than SOTL's wide-open scapes, which can be devoid of reference points.
But in this case, discussing the record's cinematic leanings is justified.
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