The Tuner of earthquakes

the Tuner of earthquakes ( The Piano Tuner off Earthquakes ) is a German film carried out by Stephen Quay and Timothy Quay, left in 2005.

Synopsis

Carried by a devouring but not shared passion, Dr. Emmanuel Droz, neurologist mephistophelic and inventor having discovered the secrecy of resurrection, want to link themselves forever with the woman that he likes, the beautiful professional singer Malvina van Stille. In order to carry out its intention it kills it, removes it, then maintains it in a state of apparent death.

Droz engages the tuner of Felisberto pianos to revise its instruments, of the automats actuated by the tides which mysteriously control the rate/rhythm of the life in its property isolated on the edges from the ocean, the Azucena Villa. Felisberto discovers little by little the intention of the doctor: to put in scene a " opera diabolique" who will connect the destiny of Malvina. He secretly swears himself to save it, but is in fact itself taken with the trap in the perverse universe of Droz.

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Comments

The Quay brothers wished to integrate much animation in this feature-length film and thus to incorporate it in the scenes turned with the actors. “To have, to some extent, of the actors who would move in decorations of headstocks, explain they. We wanted to arrive to this integration, or disintegration per moments, because there is also a slip where it is hoped that the kingdom of the headstocks will be involved in that of human and vice versa. We sought an intermediate state where one does not know too much any more in which world one is. ”

The Quay brothers - identical twin, impossible to identify one of the other - dig since nearly 30 years a very particular furrow. Before any cartoon film creators to the affirmed personality, they carried out only two feature films, both centered around characters and actors " réels". This Tuner of earthquakes made following attractive Institut Benjamenta, turned already eleven years ago (1995).

If the two brothers are American, all their culture, all their references literary, artistic, musical and cinematographic are almost exclusively European, with a clear preference for Eastern Europe. They did not declare: " Our country seems to us dull. In America, there are so many things coarse, pretentious and stupid, insular. For us, being here in Europe, is an immense source of inspiration. In one way or another, one was not born at the good place, but we always turned to Europe and our found our inspiration in this contexte." The names most often associated with their (and that they assert besides) are those of Kafka, Bergman, Paradjanov, Ghelderode, Bruno Schulz, Dovjenko, Franju, Robert Walser, Borowczyk, Tarkovski and especially the Master of Czech animation Jan Svankmajer, without forgetting another Europeanized American, the ex-Monty Python Terry Gilliam which saw in Benjamenta Institute: " The most beautiful film visually, more envoûtant and funniest that I saw these 300 last years! ". Little surprising that it here is found executive producer of the frangins…

The universe of the Quay brothers is primarily sensory. A fantastic universe where the objects are kings, in condition of having already lived, their recycling or rather their re-use not to say their resurrection remaining the passage forced to this oneiric kingdom, always with the fringe of the dream and the nightmare. The love of the details, of the closes-up of objects making live each vein remains the mark of Stephen and Timothy Quay in each one of their court-measurings of animation.

But this formal vice involves also sometimes some scenaristic weaknesses. Freely adapted of a novel of Adolpho Bioy Casares, the Invention of Morel, but also inspired by the Castle of Carpathes of Jules Verne.

The history is only one pretext and the characters are never thorough. With the Tuner of earthquakes, the scenario writers wished the meeting, and sometimes fusion, between actors and decorations of headstocks, puppets and… vice versa. " We sought, affirm, an intermediate state where one does not know too much any more in which world one trouve." For the first time, they had recourse to numerical incrustations, resorting to the televisual technique high-definition for the actors and to the digital photograph for the animation part.

External bond

  • the Tuner of earthquakes on Internet Movie Database

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