At the Crossroads: Music for Faust (FringeNYC) NYC Reviews and Tickets
Member Reviews (6)
See it if you love well filmed old black and white silent movies with glorious new original music. Could be a great Pop Rally MoMA
Don't see it if you can't imagine what it would have been like to see this movie when it came out.
See it if you like Murnau's Faust or have never seen it. This is just a movie with live music (drums and electric guitar). The movie hasn't aged
Don't see it if The venue is rather unfortunate for the screening. All they got is a rather tiny roll down screen and don't really bother deeming the lights
See it if you love live music, you love silent film, you love originality, you're seeking a respite from the madness, you are smart.
Don't see it if you want a big action-summer blockbuster or you're opposed to incredibly rich orchestrations played by master musicians.
See it if you want to be taken by spectacular film and exquisitely performed music. Absorbing experience! Fantastic musicianship in this show.
Don't see it if you don't like silent films.
See it if you like moody, ambient, beautiful music bringing out a timeless silent movie, connected to how original viewers would have felt.
Don't see it if silent movies with modern music don't thrill you.
See it if You love great music, old film adaptation. I felt that I walked out differently than when I came in. The best show I've seen so far.
Don't see it if You chose not to. Idk. I can't imagine not experiencing this.
Critic Reviews (6)
"A largely mesmerizing experience, one that gives audience members a new appreciation for the power of music and its ability to set a mood. Cohen's driving drums and Singer's slide guitar match the bold visuals of the film as the music lurks ominously under the already haunting imagery...Perhaps it isn't the best entry for a primarily theater-driven festival. But it is its own kind of stage art, one geared toward cinephiles, for whom this is an ideal way to experience a little-known classic."
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"Singer's music functions both literally, as sound effects, and abstractly, as a way of setting mood and expressing emotions. It's both jarring and thrilling to hear such modern instrumentation accompanying these antique images, and reminds us that the best works of art are always ripe for rediscovery and reinterpretation...'At the Crossroads' achieves an amazing feat: simultaneously taking us back to the silent era while creating something utterly contemporary."
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"The brilliance of this esoteric art lies in the intimate intersection of the new music and the venerable images on the screen. At times sweet and benign, at times driven and relentless, the music accompanies the German Expressionist aesthetic of distorted perspectives, powerful clashing of light and dark, and long, convoluted shadows...Singer and Cohen approach the sound with precision and lots of spirit."
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"The Gothic potency of the images is complemented by an original score...What the music lacks in melodic variety it makes up for in proficiency and rapport. In the more kinetic moments, and especially in the film’s brutal climax, both musicians get a chance to shine, with fuzz pedal distortion and other hard rock pyrotechnics put to effective use. A neglected classic, 'Faust' is ripe for rediscovery, and the added energy of live music makes it all the more compelling."
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"'At the Crossroads: Music for Faust,' with a new score by Modern Robot, provided an opportunity to see that the 89-year-old film...Modern Robot’s score was neither 'classical' nor 'movie soundtrack'...Instead, composer Ben Singer on guitar and Spencer Cohen on drums provided mood...'At the Crossroads: Music for Faust' did not show the complete film. Still, it was enough to appreciate what an uninhibited, unscholarly adaptation it remains."
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“Modern Robot provides a pulsating, breathtakingly epic score to the film. The different and fluctuating emotive feelings from the film are superbly transferred to the music...This is a supremely good show. The quality of the musicianship on show is astronomical, and twinned with the iconoclastic ‘Faust,' it makes for an experience I wouldn’t mind reliving again and again.”
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