Essential, integral experimental work from the late 1950s is an incredible dance of montage and super-imposition starring none other than New York City's various bridges, transforming them ...
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Essential, integral experimental work from the late 1950s is an incredible dance of montage and super-imposition starring none other than New York City's various bridges, transforming them into an urban jungle (jazz version) or an alien landscape (electro-acoustic version)Written by
Mark Toscano <firstname.lastname@example.org>
Musical Tonalites used in Forbidden Planet and composed by Bebe and Louis Barron are also used in Bridges-Go-Round. See more »
Two versions of the film, often shown back-to-back, differ only in the soundtrack, one a jazz score by Teo Macero, the other an electronic soundtrack by Louis and Bebe Barron. See more »
In its brief 4 minute running time Bridges Go Round offers up some bravura imagery (the final shot is outstanding) in this abstract piece with a pair of musically contrasting scores attached to individual versions. It's a jarring at times, abrasive presentation on both counts that befits the impersonal starkness of the subject that director Shirley Clarke bombards the viewer with. Spliced chaotically some transitions are smoother than others just as the bridges (The Brooklyn) have a better look than others. Given its brief running time, a worthwhile view but only one version. The director gets points off however for giving the film a split personality and not a definitive version which may or may not have been beyond her control which in a way still makes this short a work in progress 62 years later.
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