Ascultam fericita Music From the O.C. volume 6, cand dau de melodia Rogue Wave – Debaser. Care va deveni una din preferatele mele de pe album. Geniala, absolut geniala. Dau un search si aflu ca genialitatea nu apartinea tocmai copilasilor de la Rogue Wave, melodia fiind un cover dupa Pixies – Debaser.
Era extrem de curios faptul ca refrenul suna cam asa:
I am un chien Andalusia
I am un chien Andalusia
Wanna grow
Up to be
Be a debaser.
In principiu, nimic interesant. Totusi faptul ca a combinat cuvinte provenite din spaniola [ un; in ciuda faptului ca exista si in franceza, acesta este pronuntat in melodie ca varianta spaniola ], din franceza [ chien, care inseamna caine ], si in final, Andalusia, un termen inventat chiar de solistul trupei, Black Francis, termen ce provenea din francezul Andalou.
Asa ca intru frumos pe wikipedia. Si uite ce aflu:
Versurile sunt bazate pe un film francez suprarealist realizat de catre Luis Bunuel si Salvador Dali in 1928 numit Un Chien Andalou. Filmul incepe cu o scena in care ochiul unei femei este taiat de o lama, ce este ilustrata in cantec de versul ” Slicin’ up eyeballs “.
Black Francis declara urmatoarele:
‘I wish Buñuel was still alive. He made this film about nothing in particular. The title itself is a nonsense. With my stupid, pseudo-scholar, naive, enthusiast, avant-garde-ish, amateurish way to watch Un chien andalou (twice), I thought: ‘Yeah, I will make a song about it,’ he sings: “un chien andalou”…It sounds too French, so I will sing “un chien andalusia”, it sounds good, no?’
Citind acestea, m-am decis ca trebuie sa vad acel film. Am aflat apoi ca acesta este un scurt-metraj de 16 minute, neavand un plot exact. Am vazut filmul. Am citit explicatiile. Si mi se pare absolut genial. Explicatiile, conform wikipedia.org:
The film has no plot, in the normal sense of the word. There are two central characters, an unnamed man and woman. The chronology of the film is disjointed: for example, it jumps from “once upon a time” to “eight years later” without the events changing. It uses dream logic that can be described in terms of Freudian free association, presenting a series of tenuously related scenes that attempt to shock the viewer.
The film opens with a scene in which a woman’s eye is slit by a razor. The man with the razor is played by Buñuel himself. In subsequent scenes, a man’s hand has a hole in the palm from which ants emerge (a literalization of the French phrase “ants in the palms,” meaning that someone is “itching” to kill or is motivated by sexual desire); an androgynous blind woman pokes at a severed hand in the street with her cane before being knocked down by a car; a man fondles a woman, who resists him violently, and then he drags two grand pianos containing dead and rotting donkeys, the tablets of the Ten Commandments, and two live priests (Dalí plays one of the priests in this scene); the man’s father (played by the same actor as the man himself) arrives to punish him, but the man eventually shoots him with two pistols that appear seemingly out of nowhere; and a woman’s armpit hair attaches itself to a man’s face.
At the end of the film, the woman walks out of the apartment building, and meets another man on the beach (also played by Dalí). They seem to be happy, but the final shot shows two figures (apparently Mareuil and Dalí) buried in sand, dead, and “consumed by swarms of flies” according to Buñuel’s original script. However, this latter special effect was left out due to budget limitations.
Lenea de a traduce. Oricum, genial. Pacat ca nu se vede foarte bine, dar la ce sa te astepti de la un film facut in 1928. Va las cu melodia Pixies – Debaser si cu un link catre film, care poate fi vizionat online. Astept pareri.
