[Me Myself And Irene 2000 Brrip 720p Subtitles Freel
Addison Mauldin
It has now been two years since Vangelis' passing. His is an immense absence, a void so deeply felt that it can never be filled. That is how it is, and I am saying to myself that if I love him I have to courageously accept it.
Just the other day, upon my return from a trip visiting my father, in the car, entirely unexpectedly, the radio started playing Vangelis' music. Some of the pieces on the radio recalled in my mind that I was there during the process of their creation, I was there before and also after, but that was totally secondary to how these pieces now sounded; they now had an existence of their own. It was as if each of them was waiting that particular "momentum" from Vangelis, that particular moment where Vangelis would be ready to liberate it and bring it to light. It was a peculiar feeling as I was listening to his music from the position of a listener of a radio channel inside a car, and upon listening I kept saying to myself these pieces are now ready, they are complete, they belong to the world. This is something Vangelis himself often used to say, when listening to a piece of music already released, from long ago. He would say it was complete, it now had an existence of its own, he was not allowing himself to make any alteration, and at the same time he was in awe of how he had created it. Once a piece was released it was no longer "under his ownership", and he knew it "belonged" to the people listening to it; this attitude reveals his grandness of spirit, a real generosity on his part.
Vangelis was not just a composer, a musician, or even an artist; everything in his life was done with a grandness and nobility unparalleled by anyone else. He surely was a very prolific person, in every sense, "giving birth" daily to new music and every possible creative expression. He even designed his own clothes (and asked a seamstress to follow his patterns), doing it in a sheer artistic, totally creative way, paying attention to every little detail, and, at the very same time, to the totality of the work in question, never deviating from the concept of a harmonious whole. It was the same when he cooked, or added the final touch to things; or when he would write a letter: he was always in search of the right words that would harmoniously combine with each other.
I could write about Vangelis forever. I can never forget his sense of humour which was always part of the way he expressed himself, a sense of humour very much linked to a glowing wit and much finesse. He was a creative person in every possible way, extending way beyond the domain of music. I often said to myself that Vangelis couldn't have become such an immense composer if he hadn't grasped the very essence of creativity in all other forms of artistic expression. That is the reason his absence is felt so intensely by every person who worked with him; that is also the reason why he had the first and last word in all things happening in his life!
As a result I feel an obligation to communicate to people, to the best of my abilities, the way Vangelis was, because he was like no other, and his way of being-in-the-world and of expressing himself creatively and artistically is a school in itself. I am convinced that his way of thinking is going to be truly beneficial and deeply good for others.
I had the pleasure of attending the fulldome presentation "We are Stardust" at the newly upgraded dome of the Eugenides Planetarium in Athens, Greece (see our update from September 16, 2023). Conceived by Greek astronomer and renowned science communicator Dionysis Simopoulos, this project began its collaboration with his friend Vangelis in 2020. The film's title was inspired by Mr. Simopoulos's 2017 book of the same name, and this marks the first instance of Vangelis's unique compositions being featured in a planetarium show.
The film is regarded as a partenship between astronmer Simopoulos and Vangelis, with a subtitle is "A Tribute to the Music and Universe of Vangelis". According to an interview with Mr. Simopoulos's son, Panagiotis Simopoulos, in the Greek press, his late father intentionally wished to divide the film into ten chapters, aiming to mirror the structure of a Vangelis album with ten tracks. The presentation stands as a multi-themed cinematic exploration, with its blend of cosmic themes, science exploration, and technological innovation. It invites viewers to contemplate their place in the universe as integral parts of the cosmic narrative, destined to return to the stars from where we came, hence the stardust, formed from elements forged in the fiery cores of early stars and dispersed across the cosmos by supernovae.
The first half of the film is an immersive galactic tour, with scenes of zooming into the universe, galaxies, supernovae, our solar system, and black holes. Vangelis' music in the first half is varied, two pieces of music serve as incidental music to help carry the story. While the other music in the first half more engaging and reacts and develops with the visual scenes.
The opening long track is a beautifully inspired somber ballet-like symphony that at times feels like it could have been part of Vangelis' "Foros Timis Ston Greco" (later released as the "El Greco" studio album in 1998), it is intercut with moments of sensitivity and grandeur, befitting the vastness of the cosmos, and in a style that is recognisably Vangelis, what a great opening!
This opening chapter is then followed by a short excerpt from a previously released "Perihelion" track from the "Rosetta" album. The music then returns to the style of the opening track in the subsequent chapters. At times it feels dreamy and coming into the fore when reacting to the effective cosmic visuals presented to the viewers, climaxing accordingly before softening again, and this continues over the next few chapters. The sounds are very "El Greco" in their palettes, but with a space-themed and floating in feel.
In a particularly extended chapter of the film, the final cosmic chapter in the first half of the film, the music distinctly stands out, created in Vangelis' renowned spontaneous style. It begins with a gentle combination of soft drums, each beat struck with a slow pace, accompanied by synthesized choral voices that gradually build tension and create a sacred atmosphere. As the piece progresses, it intensifies with dramatic flourishes from Vangelis' renowned array of instruments, including strings and other symphonic elements. The music feels both sacred and heavenly, yet dramatically intense, culminating in a climactic conclusion that is quintessentially Vangelis, making it a highlight composition that would be perfectly at home on any of his recent albums.
Following this chapter, the film transitions from the vast expanse of the cosmos down to Earth, exploring the mysteries of life and the human quest to decipher the secrets of the universe, whether through space exploration or particle physics. The soundtrack shifts to a lighter, more catchy mood, reminiscent of some of the incidental music in "Trashed," a documentary scored by Vangelis in 2012.
The final chapter of the film features a piece that particularly surprised me, coinciding with the visuals returning to the cosmos. It's a poetic segment where the narration delivers its concluding thoughts against a backdrop of striking space visuals. The music begins subtly with slow, distinctive Vangelis strings underpinning the narration, so gentle they're almost unnoticeable, the music evokes a sensation of slowly cruising through space. As the narration concludes, a beautiful violin solo emerges above the backdrop, gradually building in a melancholy yet stirring emotions. The music is sad and reflective, yet beautifully restrained. This is truly a highlight of the presentation. It evoked similar emotions like that captured in "Tears in the Rain" from "Blade Runner." What a beautifully musical conclusion to the film!
The ending credits is a gentle piano song that feels very "El Greco" in style, which is the music we hear in the trailer of the film posted on YouTube by the Eugene Foundation. Overall, dividing the presentation into ten chapters effectively mirrors the experience of a Vangelis album, accompanied by the stunning and immersive visuals of the film.
Undoubtedly, the dome screen and high-quality projection elevate this presentation to a new level of immersion. The CGI feels like an updated, immersive version of the visuals from Carl Sagan's "Cosmos" TV series. Yet here, the narrative shifts from Sagan's famed "ship of the imagination," displayed on a flat 2D screen, to placing the audience directly within the cosmic scenes themselves. The dome projection effectively enhances immersion, and at times, one feels like grabbing the armchair, as if viewing the universe right there, completely disconnected from terrestrial Earth. Throughout the film, effective sound effects are used to emphasize key visuals, such as star explosions and space travel, working in harmony with the music and visuals.
The film is narrated in Greek by Mr Simopoulos, a voice familiar in Greece from his vast TV science shows on ERT. An English narration is available upon request of a wireless headset at the ticket desk at the planetarium, which I noticed some visitors did ask for and used during the film. I for one opted to experience the film without headset in its native language version to fully enjoy Vangelis' music.
According to Greek press, this project took a significant effort to complete after the passing of Simopoulos and Vangelis. Vangelis' long time friends and collaborators Frederick Rousseau and Philippe Colonna were instrumental in the production and mixing of the final film and soundtrack, helping to bring the visionary project to fruition.
The film began screening last October on a busy schedule. Those wishing to attend should note that the entrance is located on the back side of the Eugenides Foundation Library building at the Eugenides Foundation New Digital Planetarium.
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