Review: SILENT FILMS IN SOUND Is a Wonderful Trip Through History at Joe's Pub
On May 7th at Joe’s Pub, composer/saxophonist/singer Stephanie Chou presented her original scores for two Asian-American films from the silent era
On May 7th at Joe’s Pub, composer/saxophonist/singer Stephanie Chou presented her original scores for two Asian-American films from the silent era. The composition was commissioned by the Smithsonian National Museum of Asian Art, and focused on two films: The Tong Man and The Curse of Quon Kwon.
The Tong Man, from 1919, was a Sessue Hayakwa film in which he plays Luk Chen, a top assassin in the Chinese mafia who decides to go rogue when he falls in love with the daughter of a man he’s sent to kill. It’s a classic crime thriller plot from the era, full of dramatic betrayals and last-minute rescues. Chou’s composition leans heavily on older jazz palettes, with appropriate film noir ambiance during the scenes of criminals scheming and hanging out in alleyways. She also sings an excellent number during the climactic last sequence, with the film playing an excellent accompaniment to her performance of the song. Pianist Hyuna Park played excellently during the more intense sections, as did bassist Matt Aronoff. The inclusion of erhu (played by Andy Lin) elevated the piece during the moments when it was used quite nicely.
The composition for the second film, however, stole the show. The film itself was The Curse of Quon Gwon, from 1916, and presented in a very unique experimental fashion. The film is the first Chinese-American feature-length film and one of the first features to be directed by a woman. It follows a Chinese-American family who fall victim to a curse, with much of the cast being the friends and family of director Marion E. Wong. The only surviving copies of the film also lack the original intertitles. Without any dialogue, it’s difficult to discern the exact plot of the film, and so Chou’s composition plays into that sense of uncertainty, constructing a very ethereal piece of music that the film’s visuals serve as an excellent accompaniment to. The Curse of Quon Gwon features a lot of shots of nature and landscapes, as well as women in their private lives. The composition matches this, being much more soaring, as well as featuring more singing from Chou herself. It’s a very unique experience, as the audience is left to interpret what the film’s exact plot might have been, while taking in the sweeping compositions. It’s easy to get lost in the experience, with winding saxophone arpeggios timed with the movie that create a sense of magic.
Both compositions matched the films quite well – a more grounded jazz set for the crime thriller, and then a much more psychedelic suite for the mysterious horror film. And both times, the soundtrack steals the show.
Learn more about Stephanie Chou and where to follow her online at www.stephaniechoumusic.com
Find tickets to more upcoming shows at Joe's Pub on their website here.
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