Kihyun masked singers who died

: Movies

"Amorosa" by Mai Zetterling

Indulge in pictures: Where better to do that than in Venice, on those nights when the mask reigns, the costume overrides everything normal. Carnival: when everyone is celebrating, the pain has to wear a mask. Nothing should disturb the arrogance. A whimpering masked woman, accompanied by masked men, is hurriedly carried through the streets of Venice. Goal: a mental hospital. Agnes von Krusenstjerna is that woman. The fact that she wears a mask is a macabre joke of fate, because the Swedish writer, who lived from 1894-1940 and belonged to the officer nobility, unmasked her own caste in her extensive novel cycles all her life, breaking all moral taboos in the process. Director Mai Zetterling unfolds 22 years of the life of this oversensitive woman, who always lives on the verge of exhaustion, in her new film. As early as 1965, she had chosen the novel series "Die Fräulein von Pahlen" as a template for her debut film "Loving Couples", which, like the book 30 years earlier in Sweden, caused a scandal at the Cannes Film Festival.

"Amorosa", based on the novel cycle "Armenadel", contains images of sexual debauchery, but focuses on the tormented poet who suffered from her mother's inability to love and the narrow-mindedness and double morals of those around her. She wrote to gain clarity and yet became more and more confused, even incapable of living. Eventually she married a man who devoted himself entirely to her work - perhaps because her own talent was insufficient - who obsessively made her write. Mai Zetterling loves to indulge in motifs, to stage opulent pictures of family celebrations or Venice. But in doing so, she also creates a contrast to the person of the writer, who always appears as a cool observer in society. Even in her youth it became clear that this is not a conforming daughter, but a nonconformist woman. About the original of the film it was once said: "Here you get a whole family album, but not photographic copies, but in flowing watercolors with a lively atmosphere around living faces." "Amorosa" is also alive - and not without suction. Anne Frederiksen

"La Bamba" by Luis Valdez

There was once an advertisement in which you saw the shadow of an airplane climbing up a skyscraper. You couldn't see the plane itself. "La Bamba" begins with dreamlike shots of boys playing basketball. An airplane can be seen over her shoulders. And one more thing. Suddenly a collision speeds up slow motion and the image bursts into a ball of fire. The plane can no longer be seen in this sunny film, but its shadow will follow the young singer as he climbed the career ladder, as in that advertisement. And then at the peak of success it descends. On February 3, 1959, the only 17 year old Richard Valenzuela, who had already landed three hits as Ritchie Valens, was killed in a plane crash. Buddy Holly and J.P. "The Big Bopper" Richardson died with him. "La Bamba" tells of the short life and rapid rise of the Californian fruit picker son, that is, of the American dream and the painful awakening. For the Mexican immigrants, the Chicanos, was Ritchie Valens the first own idol in the new home. Director Luis Valdez's feelings flow into the film as directly as the boy's into his music. So the shadow joins the light smoothly. "La Bamba" is a touchingly gullible and believably touching film. Valens had the guitar with him everywhere, rock'n'roll was his future music. "Stand By Me", "Blue Velvet", "Peggy Sue Got Married" and "La Bamba": lots of songs from the fifties, lots of films from the eighties. For Hollywood's older, young directors, this music has become a time machine: Back to the future.

Michael Althen