Film reviews

Green Zone

Green Zone

Damon delivers a stirring performance in this thought-provoking film but it ultimately fails to distinguish itself from the recent influx of Middle East war films

My One And Only

A warm-hearted road trip movie which boasts strong performances

Cirque Du Freak: The Vampires Assistant

Despite fun performances, this wannabe franchise lacks ambiance

Remember Me

Pattison delivers another brooding performance in this self-indulgent film about young love and deliverance

search the site

newsletter

Enter your email address below to receive the weekly Filmink newsletter

Glass: A Portrait Of Phillip In Twelve Parts (Film)

Rating: PG

Running Time: 114

Country: Australia

Director: Scott Hicks

Cast: Phillip Glass

Distributor: Sharmill

Film Worth: $11.50

Release Date: November 13, 2009

“…an important cultural artefact.”

091593500b9aafbd7102.jpg

Fluidly moving between documentary and fiction filmmaking, Aussie director Scott Hicks follows up No Reservations - his low-key remake of the German romantic comedy Mostly Martha - with GLASS: A Portrait of Philip in Twelve Parts, a comprehensive documentary of 18 months in the life of living legend composer Philip Glass. Shot on a tight budget and a tighter calendar, the film offers a cinematic style which borders on verite in approach and execution. A longstanding casual acquaintance of Glass', the director carries the camera himself, which allows the composer's sometimes hooky persona to percolate through his well-hewed public persona. In this way, the film is a rousing success, offering brilliant fly-on-the-wall moments as Glass composes his eighth symphony and prepares to stage his ambitious opera Waiting For The Barbarians. For film buffs, the most compelling elements of GLASS concern the composer's hagiographic status in Hollywood, with his interactions with filmmakers as renowned and brilliant as Errol Morris, Paul Schrader, Martin Scorsese and Woody Allen, which helps return the documentary from its high art status to more solid, populist ground. Elsewhere, the film occasionally falls over; appropriating its title from Glass' seminal 1974 work, Music In Twelve Parts, Hicks uses his subject's composing convention to structure his film into 12 parts as well, which unfortunately results in a chaptered piece lacking in cohesiveness. Bringing the movie back from its balkanised abyss are the self-referential, intimate conversations between the two, in which they speak about spirituality, celebrity and artistic composition. Both immediately draw parallels between their respective professions, and the common ground achieved drives their shared responsibilities to the film itself and help make it an important cultural artefact.

Share |