Artist: Ole HoyerI picked up this soundtrack for a few bucks when I was in New York City earlier this year. It's evidently from a sexy 1965 Danish film chronicling the transformation of a naive seventeen-year-old boy who, through a series of erotic escapades, gradually turns into a man. I like this track in particular because you can actually hear young Jacob drifting innocently, lazily, nakedly through his house at dusk—when suddenly he sees his reflection in the hallway mirror and notices his jutting erection! Puzzled and bewildered, he fondles it and it responds by nodding in silent approval. This both excites and confuses Jacob, so he touches it again and... well anyway, it's a nice song. Here (in green) is a Danish person's film review from IMDB, with the soundtrack liner notes in pink below that. I've also included photos from the back of the LP with captions of dialogue taken from the film.
I first saw Sytten in Denmark when I was about 19. Being
the right age and in the right place, I LOVED it. It captured
the Denmark I had come to love better than any other Danish
film. Back in the States at age 23, the film turned up in my
college-town theater, so I took my fiancé in order to "share
some of my Danish experience." What I thought was a fun,
boyish romp, was for her, the dirtiest thing she had ever seen.
Now that my own sons are past that age, I'd love to see it
again to see how it plays in my memory. I particularly re-
member the funniest scene with the lad struggling with
masturbation and the local priest trying to, literally, help
him out with it, "So we can repent together later." Then,
after his own awkward experience with one of the farm
girls, entering the farm house and seeing the maid on her
knees scrubbing the floor. She had been coming on to him
even though she was old enough to be his mother, but now
with some experience under his belt, he quietly sneaked up
behind her and gave her the thrill of her life. The older
woman/young boy is a recurring theme in the Danish
coming of age novels I've read, and this supposed
autobiographical portrait of the writer fit right in.
* * * * * * *
the right age and in the right place, I LOVED it. It captured
the Denmark I had come to love better than any other Danish
film. Back in the States at age 23, the film turned up in my
college-town theater, so I took my fiancé in order to "share
some of my Danish experience." What I thought was a fun,
boyish romp, was for her, the dirtiest thing she had ever seen.
Now that my own sons are past that age, I'd love to see it
again to see how it plays in my memory. I particularly re-
member the funniest scene with the lad struggling with
masturbation and the local priest trying to, literally, help
him out with it, "So we can repent together later." Then,
after his own awkward experience with one of the farm
girls, entering the farm house and seeing the maid on her
knees scrubbing the floor. She had been coming on to him
even though she was old enough to be his mother, but now
with some experience under his belt, he quietly sneaked up
behind her and gave her the thrill of her life. The older
woman/young boy is a recurring theme in the Danish
coming of age novels I've read, and this supposed
autobiographical portrait of the writer fit right in.
* * * * * * *
Eric Soya's "17" — The Motion Picture for people over 18!
"ERIC SOYA'S '17'" is, as the name implies, a very personal
film. Soya, a 71-year-old Danish author, wrote the autobio-
graphical novel '17' in such a way as to recapture the confusing,
sometimes humorous time in a young man's life when he
passes from adolescence to manhood.
The film is a faithful study of the teen-ager's sexual awakening.
Annelise Meneche, in her debut as a film director, has created a
remarkable "period piece." That is, she has brilliantly recaptured
the aura of relaxed and gracious living so much a part of pre-
World War I Denmark. Critics have applauded the handsome
costumes, and the delightfully Edwardian atmosphere,
lovingly photographed in color.
The film's hero is Jacob Petersen, a widowed Professor's son,
who finds himself in that awkward stage of youth, keenly aware
of the presence of lovely girls, but still too immature and inex-
perienced to know what to do about them. But before the motion
picture runs its course, with the aid of several enthusiastic
young ladies, he learns his lesson well. Some of the scenes
reach the epitome of film frankness. Miss Meneche, in de-
lineating Jacob's sexual breakthrough, places "Eric Soya's
'17'" in the same controversial category as Mai Zetterling's
"Loving Couples" and Jorn Donner's "To Love."
But while some may find the film slightly shocking, no one
will fault the unusually excellent music. Setting the mood for
this story of young love, Ole Hoyer has purposely composed
a brilliant score. His title theme is tender and wistful, very
much in the same mood as Max Steiner's popular
"Theme From a Summer Place."
There are other enchanting highlights: the bouncy, barrel-
house piano of "Pioneer Express," the carnival gaity of "Danish
Pastry." "Erotic Imaginings In the Garden" comprises a variety
of themes. Beginning with a Mancini-like romantic piece (later
reprised in the love theme "Jacob and Vibeke") that flows into
the out-of-kilter chords, signifying the young man's confusion,
it eventually leads into sedate chamber music—an amazing
melding of three entirely different musical styles.
Hoyer's film score is indeed something different. Just as
Ingmar Bergman made moviegoers the world over take note
of the cinema of Scandinavia, so Hoyer now takes it a
step further with the first important Danish film score
ever to be recorded in America. Deservedly so. Listen!
"I've never been sexually awakened before."
"I will awaken you!"
"Nice ruffles."
"Hey, what's this?"
"Hold on.... I think I just started my period piece."
"It says here that we're invited!"
"You ain't nuthin' but a hound dog!..."
"ERIC SOYA'S '17'" is, as the name implies, a very personal
film. Soya, a 71-year-old Danish author, wrote the autobio-
graphical novel '17' in such a way as to recapture the confusing,
sometimes humorous time in a young man's life when he
passes from adolescence to manhood.
The film is a faithful study of the teen-ager's sexual awakening.
Annelise Meneche, in her debut as a film director, has created a
remarkable "period piece." That is, she has brilliantly recaptured
the aura of relaxed and gracious living so much a part of pre-
World War I Denmark. Critics have applauded the handsome
costumes, and the delightfully Edwardian atmosphere,
lovingly photographed in color.
The film's hero is Jacob Petersen, a widowed Professor's son,
who finds himself in that awkward stage of youth, keenly aware
of the presence of lovely girls, but still too immature and inex-
perienced to know what to do about them. But before the motion
picture runs its course, with the aid of several enthusiastic
young ladies, he learns his lesson well. Some of the scenes
reach the epitome of film frankness. Miss Meneche, in de-
lineating Jacob's sexual breakthrough, places "Eric Soya's
'17'" in the same controversial category as Mai Zetterling's
"Loving Couples" and Jorn Donner's "To Love."
But while some may find the film slightly shocking, no one
will fault the unusually excellent music. Setting the mood for
this story of young love, Ole Hoyer has purposely composed
a brilliant score. His title theme is tender and wistful, very
much in the same mood as Max Steiner's popular
"Theme From a Summer Place."
There are other enchanting highlights: the bouncy, barrel-
house piano of "Pioneer Express," the carnival gaity of "Danish
Pastry." "Erotic Imaginings In the Garden" comprises a variety
of themes. Beginning with a Mancini-like romantic piece (later
reprised in the love theme "Jacob and Vibeke") that flows into
the out-of-kilter chords, signifying the young man's confusion,
it eventually leads into sedate chamber music—an amazing
melding of three entirely different musical styles.
Hoyer's film score is indeed something different. Just as
Ingmar Bergman made moviegoers the world over take note
of the cinema of Scandinavia, so Hoyer now takes it a
step further with the first important Danish film score
ever to be recorded in America. Deservedly so. Listen!
"I've never been sexually awakened before."
"I will awaken you!"
"Nice ruffles."
"Hey, what's this?"
"Hold on.... I think I just started my period piece."
"It says here that we're invited!"
"You ain't nuthin' but a hound dog!..."
"Jacob, please!... must you always reach the epitome of film frankness!?"
No comments:
Post a Comment