It feels like eons since I’ve last posted here. Between my fiction-writing pursuits that dominate my time at night, my daily actual-job duties and the recent uprising of my Reel Loop film news writing, poor Theater Of Mine has been neglected. But that’s about to change, as I’m hoping to revitalize this here blog, for the scarce few that happen across on occasion. I’m also pondering an idea that would introduce some amounts of original fiction here, as well as finally abandoning that “wordpress” in the site’s URL. Time is of the essence.
What better way to kickstart a new round of TOM posting than with a Shutter Island-related entry? Martin Scorcese’s latest, for those aware of my tastes and quirks, has been my personal Holy Grail for going on about a year or so now; I adore Dennis Lehane’s novel, and every piece of pre-release swag I’ve seen or read for the film has left me enthralled. There’s no doubt that a Thursday February 18th midnight showing is in my future.
This morning, I read a short but sweet New York Times profile on Sir Scorcese, and one of its finer points was a discussion of the music used in Shutter Island. It’s a good read, so give it a look. Amongst the classical talents revisited for the film’s soundtrack is Polish composer Krzysztof Penderecki, whose “Passacaglia” is cited by Scorcese as a perfect musical encapsulation of Teddy Daniels’s (the main character played by Leonardo Dicpario) crumbling, tortured psyche. And, naturally, the track is of top quality, and has me even more excited. Precisely the tone I love to hear in movies. Listen to “Passacaglia” after the jump: