this perhaps comes back to venus. as a soundtrack, or as music in and of itself, does it match the images that originally accompanied it, or is it the other way round? yes, a desperate woman is running through berlin, that’s what it sounds like. i’m trying to disassociate those connections and work out the music.
having been there ten years after the film was made, to me it seems more like travelling on the trains. the songs do capture the tension and multiple climaxes of the film though. it’s hard not to see those iconic images. it’s both literal and metaphorical. does this say something?:
i want to consider the film’s storytelling techniques as constituting a particular mode of narration that reconfigures temporal linearity and circularity, action and causality, movement and stasis around the central problems of embodied subjectivity, spatio-temporal intervals and hetero-topic experience [wedel in puzzle films]
perhaps in such a case as filmic music, it’s not possible to remove one from the other. again, this isn’t my type of music generally speaking. it doesn’t really stand on its own, though it is repetitive and catchy; infectious. there’s that relentless energy, and through the story arcs you feel like you don’t wake out of the funk until the very end. so it’s effective for what it is.
the second half of the ‘album’ is a set of remixes for which i am unsure of their purpose. perhaps just giving some techno-heads the chance to wank around with the music – but not the concepts in any way.
i have to say of the film that it’s one of the strongest non-music cultural memories i have from a point in my life when i went from being a yoof to an adult. for more than the obvious reasons, it will always remain vivid in my mind. i want to say something about the connection to a heart broken moment; the time that the only person i regret losing slipped away. but this isn’t the right place for it. lola and manni didn’t lose each other in the end…
i wish i was a heartbeat that never comes to rest