The use of opera in non-musical movies (outside the "Amadeus" model) is
problematic, to say the least.

To have dramma per musica squeezed into a very different medium usually
courts two kinds of disasters:  it's either out of context (as in the
otherwise grand "Fifth Element" scene) or it's a cheap studio production,
such as the "SF Opera" production in "Pretty Woman," obviously filmed in a
broom closet.  The wires were showing even in the otherwise fine use of
Puccini in "Moonstruck."

Also, there is the question of attitude:  There are too many examples
of cheap shots at opera in general or using it to peg a "type" of people
with it.

I am glad to report that in his upcoming "The Talented Mr.  Ripley,"
Anthony Minghella makes use of the duel scene from "Eugene Onegin"
*perfectly* -- in context, well produced, handled with respect and
enhancing the drama.

The "Onegin" scene exactly parallels the film's story of a fatal
conflict between friends, but the audience's nose is not rubbed into that.
Also, the Rome Opera production is performed and filmed exactly right.
It's obvious that here's a director not only with keyboard experience in
Earthlight and Dancer, but somebody with a deep understanding of any kind
of music -- as "Truly Madly Deeply" already proved beautifully.

I know Minghella has directed operetta, but I am not aware of his work with
opera.  Clearly, he should do it.

Oh, by the way, "Ripley" is an outstanding film, with or without opera.

Janos Gereben/SF
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