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:D:
спасибо другу и друзьям! :beer:
Sound: DVD-Audio 96/24 5.1, DVD-Audio 96/24 2.0, DVD-Video Dolby Digital 5.1
Editorial Reviews
Amazon.com
In 1996, composer, producer, and guitar legend Ry Cooder entered Egrem Studios in Havana with the forgotten greats of Cuban music, many of them in their 60s and 70s, some of them long since retired. The resulting album, Buena Vista Social Club, became a Grammy-winning international bestseller. When Cooder returned to Havana in 1998 to record a solo album by 72-year-old vocalist Ibrahim Ferrer, filmmaker Wim Wenders was on hand to document the occasion. Wenders splits the film between portraits of the performers, who tell their stories directly to the camera as they wander the streets and neighborhoods of Havana, and a celebration of the music heard in performance scenes in the studio, in their first concert in Amsterdam, and in their second and final concert at Carnegie Hall. The songs are too often cut short in this fashion, but Buena Vista Social Club is not a concert film. Wenders weaves the artist biographies with a glimpse of modern Cuba remembering its past, capturing a lost culture in music that is suddenly, unexpectedly revived for audiences in Havana and around the world. Wenders makes his presence practically invisible, as if his directorial flourishes or off-screen narration might deflect attention from the artists, who do a fine job of telling their own stories through interviews and music. It's a loving portrait of a master class in Cuban music, with a vital cast of aging performers whose energy and passion belie their years. --Sean Axmaker
From The New Yorker
In 1996, the blues guitarist Ry Cooder gathered together some wonderful Cuban musicians in their seventies and eighties for a successful recording project. Two years later, Cooder went back to Cuba, this time accompanied by cameras and the German director Wim Wenders, seeking out the men and women of Cuban music on the streets and in the old dance halls of Havana. In this beautiful city that got left behind by the global economy, the bedraggled stone buildings and pre-revolutionary Chevys and Dodges have aged into pure soulfulness. So have the musicians, who still look great, play beautifully, and exude a stirring seriousness and dignity. The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American. -David Denby
Copyright © 2006 The New Yorker
спасибо другу и друзьям! :beer:
Sound: DVD-Audio 96/24 5.1, DVD-Audio 96/24 2.0, DVD-Video Dolby Digital 5.1
| TRACKLIST |
| 1. Chan Chan . . . . . . . . .4:16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. 2. 2. De Camino a la Vereda . . .5:03 . . . . . . . . 3. 3. 3. El Cuarto de Tula . . . . .7:27 . . . . . . . . 4. 4. 4. Pueblo Nuevo. . . . . . . .6:05 . . . . . . . . 5. 5. 5. Dos Gardenias . . . . . . .3:02 . . . . . . . . 6. 6. 6. їY Tъ Quй Has Hecho?. . . .3:13 . . . . . . . . 7. 7. 7. Veinte Aсos . . . . . . . .3:29 . . . . . . . . 8. 8. 8. El Carretero. . . . . . . .3:28 . . . . . . . . 9. 9. 9. Candela . . . . . . . . . .5:27 . . . . . . . . 10. 10. 10. Amor de Loca Juventud . . .3:21 . . . . . . . . 11. 11. 11. Orgullecida . . . . . . . .3:18 . . . . . . . . 12. 12. 12. Murmullo. . . . . . . . . .3:50 . . . . . . . . 13. 13. 13. Buena Vista Social Club . .4:50 . . . . . . . . 14. 14. 14. La Bayamesa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2:54 |
Editorial Reviews
Amazon.com
In 1996, composer, producer, and guitar legend Ry Cooder entered Egrem Studios in Havana with the forgotten greats of Cuban music, many of them in their 60s and 70s, some of them long since retired. The resulting album, Buena Vista Social Club, became a Grammy-winning international bestseller. When Cooder returned to Havana in 1998 to record a solo album by 72-year-old vocalist Ibrahim Ferrer, filmmaker Wim Wenders was on hand to document the occasion. Wenders splits the film between portraits of the performers, who tell their stories directly to the camera as they wander the streets and neighborhoods of Havana, and a celebration of the music heard in performance scenes in the studio, in their first concert in Amsterdam, and in their second and final concert at Carnegie Hall. The songs are too often cut short in this fashion, but Buena Vista Social Club is not a concert film. Wenders weaves the artist biographies with a glimpse of modern Cuba remembering its past, capturing a lost culture in music that is suddenly, unexpectedly revived for audiences in Havana and around the world. Wenders makes his presence practically invisible, as if his directorial flourishes or off-screen narration might deflect attention from the artists, who do a fine job of telling their own stories through interviews and music. It's a loving portrait of a master class in Cuban music, with a vital cast of aging performers whose energy and passion belie their years. --Sean Axmaker
From The New Yorker
In 1996, the blues guitarist Ry Cooder gathered together some wonderful Cuban musicians in their seventies and eighties for a successful recording project. Two years later, Cooder went back to Cuba, this time accompanied by cameras and the German director Wim Wenders, seeking out the men and women of Cuban music on the streets and in the old dance halls of Havana. In this beautiful city that got left behind by the global economy, the bedraggled stone buildings and pre-revolutionary Chevys and Dodges have aged into pure soulfulness. So have the musicians, who still look great, play beautifully, and exude a stirring seriousness and dignity. The movie comes closer to pure happiness than anything else in the theatres at the moment, and it has an intriguing and moving subtext: the Cubans' buried but irrepressible love of things American. -David Denby
Copyright © 2006 The New Yorker
