the choKolaTe war; _Ne_T'enfuis_pas; _HG_33_

[IED0DXM%OAC.UCLA.EDU@MITVMA.MIT.EDU]

 To: Love-Hounds
 From: Andrew Marvick
 Subject: the choKolaTe war; _Ne_T'enfuis_pas; _HG_33_

     IED saw _The_Chocolate_War_ yesterday, and thought he should
post a word or two. First, it's a really good movie. There're no
funny parts--it's all pretty much downbeat from beginning to end--but
it's fascinating, like seeing a car accident. IED won't say anything
about the storyline for fear of giving anything away. He will say
that to him, more than just the inclusion of PGIV songs connects
this film with _Birdy_. The only major difference in tone is that
_Birdy_ had at least some humor in it. Otherwise, they handle similar
themes and with a similar viewpoint and style. And they both unravel
their stories in a way that rivets attention.
     As for Kate's participation: the song used is _Running_Up_That_Hill_
as Doug Weiman already reported in Love-Hounds yesterday. It
isn't heard until the very last shot in the film, and it continues
through the end credits. As with several of the other songs used in
the movie, the original subject of Kate's song is twisted cleverly
and effectively, so that its lyrics take on a new but completely
compatible meaning within the context of the film. Very clever and
stimulating, not to say moving for Kate fans. Incidentally, the total
budget of the film was a ridiculously low $700,000. It looks like $7 Mil.
     It's interesting that of the four or five different artists
whose songs were used (besides Kate and Gabriel, a song by
Joan Armatrading and two by Alison Moyet's old Yazoo were dominant),
only Gabriel apparently placed "conditions" on the use of his music.
In the end credits, after all the artists and their songs are listed,
a separate large-print notice appears: "In support of human rights
and Amnesty International, Peter Gabriel has agreed to allow the
use of his music in the making of this film," or something to that
effect. Naturally, in the three reviews IED has read of the movie,
Gabriel and Amnesty International have received special mention. Even
though IED's family have supported AI for many years, he personally
found that mention rather self-serving and manipulative. Why attach
such conditions as a prerequisite for the use of one's music? The film
should be able to make its own statement. Clearly the other artists--
Kate included--felt no need to attach their own agenda to the movie.
     IED read with great interest Doug Weiman's persuasive article
about _Ne_T'enfuis_pas_. IED actually used to feel pretty much
the same way Doug does now. He was convinced that that recording
was one of the most perfect and complex pieces of music ever made
--certainly in pop-music history. When, after the eighty-millionth
listening (and already into his third or fourth copy of the single),
he _then_ discovered the vocal (Fairlight) melody in the _introduction_
--before the main vocal begins, and so low in the mix that it had
slipped by his attention for weeks--with its attendant harmony in
fifths, he became convinced of the essential
accuracy of his judgement. Musically, _Ne_T'enfuis_pas_ is an
absolute jewel. As for the lyrics, IED sees the truth in what Doug
says about them. Kate composed the song initially in French, using
what little she felt confident of on her own, and then going to
French friends for help in bringing the rest of the "story" into
idiomatic French. The result is--IED is happy to say--excellent,
from a linguistic point of view. As to the multivalence of the lyrics'
meaning, IED does not disagree with Doug.
     Kate has never discussed the process of recording this track,
as far as IED is aware. We know that she usually spends only
a few days on b-sides--in several cases we know she actually
recorded the b-side in one or two takes. But she has never
talked about the specific recording of _Ne_T'enfuis_pas_ or
_Lord_of_the_Reedy_River_ (which IED believes is just as
important in terms of sound and arrangement). It seems impossible
that she could have done these recordings in only a day or two,
but who knows?
     As to whether _Ne_T'enfuis_pas_ is _the_ greatest song,
however, well...Let's just say that since _The_Ninth_Wave_
was released, IED has found it difficult to attach number values
to specific recordings. But it's definitely up there.

-- Andrew Marvick
   P.S.: Thanks to Neil for his report on _Homeground_ No. 33. IED
         was gratified to hear that his review of the Juby book made
         it into the issue, though he would gladly have traded his moment
         of fame for some harder information about the progress of KBVI!
         IED is convinced that _HG_ know much, much more than they let
         on, and it bugs him.