Original review
https://filmmusic.pl/recenzje/moj-romans-z-malzenstwem-my-love-affair-with-marriage/
Translation
4.5 Rate out of 5
| 18-04-2024
When Kristian Sensini began to record the first musical ideas for My Love Affair with Marriage, his son Leo was still in the belly of his wife Agnese. When the soundtrack was finally completed, seven years later, Leo had just started second-class. This is a very long road that is rarely seen in the film industry today. The circumstances of the My Love Affair with Marriage were equally unusual. Sensini lives in Italy and the director of Signe Bauman in New York. They both never had a chance to meet. Throughout the cooperation, they have always worked remotely.
Bauman animation is an original work that, in many technical ways, reminds us of our natives, Kill it and leave this city. The world presented in the animation is a unique creation of the imagination, in which people are controlled by a gray line of the cartoonist, bringing out the colorless and difficult reality of the old Eastern Bloc. We learn the whole story from the perspective of Zelma, a teenager who faces brutal norms imposed by patriarchy. The next stages of her life are not only a bitter chase after the ultimate happiness that is marriage here, but also the process of discovering the biological changes taking place in her body.
This proves how versatile the composer is and what potential lies in his talent
Sensini shines with ideas that hardly anyone would expect from the animation. The most important thread, that is, the wedding, is treated here literally. We see the ecclesiastical organs, symbolically leading the bride to the altar, accompanied by quasi-angel chants. This is joined by the female Trio Limonade. In the film, three mythological guide mermaids play them, or, depending on the context, even hamlet witches, foretold often the painful future of Zelma. Their role is huge, because My Marriage with Life bears the hallmarks of a musical. His characters do not perform songs. This function falls precisely to the muses, which, which is the conscience of Zalma, will often give them an ironic, even humorous, in spite of convention, a commentary. Sensini composed and recorded all the songs before the animation started by the director, as Bauman needed them as a reference to the creation of credible lip synchronization. The songs themselves are a genre mish-mash, containing elements of jazz, blues and gospel, as ideally exemplified by Happy House. There’s also a lot of fantastic sounds – see First Maries Fantasy.
It is also worth mentioning the second, parallel world ruled by biology. The creators did not want to inculcate the picture path with a scientific-documentary coloration. This was a real challenge for Sensine, whose synchronization with the director’s vision has taken over several attempts. There was a fear that the project would be broken, but by trial and error, it was possible to determine that the best solution would be drums. Plenty of drums, not repeating the same melodies, have been used to comment on insanely difficult to illustrate concepts such as love or fear. It was a very down-to-earth, raw, as Sensini himself put it, the primitive treatment of biology, which is exactly what it is.
What about purely instrumental music? Sensini chose her to emphasize the evolution of the heroine, both physical and mental. This layer resounds nostalgic strings, like Back to Latvia, or the beautiful Falling in Love. In particular, it seems important to be the second piece, which in completely different film circumstances, could be the main theme of the whole story. Then Sensini, like Carter Burwell, could use very simple orchestral measures to achieve maximum effect. This proves how versatile the composer is and what potential lies in his talent.
It’s hard not to pay attention to the music in the picture. There is a lot of it, it is variable and original. The transmission of often short, eclectic fragments to the disc would seem impossible. But it turned out differently. The album, also physical edition, from the reliable MovieScore Media is listened to a pussy. Music flows, often reminiscent of an ethereal session. And although the tracklist does not spoil, openly suggesting that it is music primarily for the film, it is worth reaching for it. It is rare enough to encounter such a rich, experimental setting for such a difficult species as animation.