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First, the Recap:
When at first you don’t succeed. It is a phrase we have all heard more often in life than we might have preferred, as it often seems a little cliché when we are faced with the idea that something we’ve put our hand to with the expectation of success has not ended up as such, prompted us to have to return to the proverbial, or perhaps literal, drawing board. We do this with a sense of both exasperation but, ideally, hope that what will arrive from our missteps is a final result that will be remembered and treasured, especially if it is to the benefit of not just ourselves, but to the appreciation of others as well.
For one film scorer, we’ll just call him Mr. Composer (Buster Berggren), the sheer notion of said phrase is a motivation to dig harder into his musical knowledge and compositional ability in order to discover the perfect series of notes and waves of wafting sonic beauty to accompany a new film he has been put in charge of music for. Ideas have already come and his level of satisfaction with it has been relatively solid. Well, at least in his own mind. As he chooses to believe all is well as he views a particular scene he believes has been partnered well with his tonal stylings, the voices of opposition via Gunilla (Kajsa Lundin) and Gosta (Erik Martensson) arise, but not from the origin point expected.
Next, my Mind:
Another of the myriad of short films being screened at the 2019 High Coast Film Festival sponsored by and/or in association with Illambra, Kramfors Kommun, Film Vasternorrland, Europeiska Unionen, Region Vasternorrland, Lansstyrelsen Vasternorrland, and NBV, this all-too-brief 5-minute effort from director/cinematographer Camilla Liljetstrand delivers a wholly creative, beautifully entertaining, wonderfully witty burst of pure genius to the concept of a composer’s music as it relates to a film he’s scoring and the depth of connection with the material he’s (literally!) struggling with, brought to life in one of the more brilliant and artistically clever ways this critic has seen before. As I’ve mentioned countless times over the years, this is yet another example of the talent which resides within the indie film community across the world that deserves more exposure and recognition, so it is good to see this getting some time on screen via the Festival circuit.
Beyond the sheer skillfulness and intelligent design showcased in the film, and of course the magnificent entertainment value it exudes, there’s such a valuable lesson to be learned from it all when we sit back and apply the grander principals below the surface being thematically brought about, which is always key to making any given narrative relatable to its viewing audience. How many moments in our own lives can we recall being consistently harried in the quest to find the perfect solution to a task we’ve set our minds to only to be stymied by failure or those “voices” in our heads telling us to go this way and that. Here, the film simply chooses a highly unique approach to illustrate that exact point, also willing to show how it can lead us to not only the solutions we’ve been looking for, but towards answers that end up being satisfying to an even deeper degree than originally anticipated. It also speaks to when others might tell us that we cannot seem to get something right, but then appropriate and mutually beneficial compromise arrives and as hinted at above, brings about better results for everyone.
Berggren assuredly and clearly enjoys himself and the multitude of quietly but evidently frustrating moments his enacts in his performance as Mr. Composer, a film scorer in the midst of putting together the background music for the newest film project he’s been tasked with. As he watches the scene in question unfold, the music initially playing worthwhile and acceptable to him, the voices contrary to his viewpoint ring out from the last place he might expect, yet he interacts with it as if it was natural, almost like a visual representation of the inner fights he faces each time seeking the ideal sounds to pair with a sequence. Even as he keeps resisting, repeating, and reworking the scene, it finally builds to a point where the realization that a happy medium, middle ground, accommodation will need to be brought about, and in doing so, it brings everyone into, if it may be said, harmony and agreement to the advantage of all. Throughout, Berggren embodies this character’s playfully fun plight with total ease and engaging poise.
Now, and this is not at all to take away a single thing from either performance mind you, not by a long shot, but this critic truly feels that it cannot be explained in details the overall nature of the characters brought to totally endearing and smile-inducing light by Lundin and Martensson, but for the sake of those who might not have caught this whimsical film, I would prefer not to at all spoil now the pair fit into the narrative, as I feel it would spoil the surprising elements of this film. For those who did already catch it, then I will believe you understand exactly why sharing details about it isn’t a good idea with others who haven’t. But, suffice it to say overall, Lundin and Martensson absolutely shine with enchanting, winsome appeal sure to have kept the attention of every viewer who watched at HCFF 2019 and keep it for any who have yet to experience the film. In total, “Musiken I Mitt Liv (The Music In My Life)” made for one amazingly fun view and certainly one hopes its tale of persevering and purposeful understanding to achieve success imprints on every mind that takes it in so as to see how it can be applied to our own lives after we have enjoyed the wonder of indie cinema when it hits on all cylinders.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
