Tuesday, October 21, 2008

Justin Afifi - The Life Aquatic With Steve Zissou

Directed by: Wes Anderson

The Life Aquatic with Steve Zissou follows the once regarded oceanographer Steve Zissou (Bill Murray) go on a mission to find and kill "the Jaguar shark" after the same shark had eaten his long time friend Esteban. With no finances and the public light dimming Zissou seems to have lost his edge. That is until Ned (Owen Wilson) comes into his life claiming to (possibly) being Zissou's son. Zissou takes Ned under his wing as one of the Team Zissou crew members and the lead financier for Zissou's next film. The story follows the crew as they face mutiny, pirates, professional rivalries, and all sorts of creative marine life as they seek the "Jaguar shark."

The film is scored by longtime Anderson collaborator Mark Mothersbaugh who captures the film's ratio of comedy and drama perfectly. The score is actually referenced directly in the film as Zissou explains that Woolandarsky (one of the crew members) composes all of his films, while it is in fact Mothersbaugh's original score playing its own character.

The film also relies heavily on soundtrack music. David Bowie is played heavily throughout the film, sometimes with his original recordings and more often that not covered by crew member Pele (Seu Jorge). Pele is often around the ship, guitar in hand playing Bowie's classics. Beyond Bowie lies more emphasis on soundtrack music. Iggy Pop and the Stooges' "Search and Destroy" has a special scene where Zissou has it out in a gun fight with a gang of pirates. The scene is quick, fast paced, and disoriented just like the scene is meant to be. Another scene is the showdown with the "Jaguar shark." Once the Jaguar shark is shown Sigur Ros' "Starálfur" plays. The song is a swelling, powerful song that makes Zissou's encounter with the Jaguar shark epic and wonderfully captures his emotions.

1 comment:

Naima Lowe said...

Good job. Do you think that the blurring of the diegetic/non-diegetic sound world impacts the emotional resonance of the scenes? Do they seem more or less "real" or somehow related to a documentary aesthetic?