MovieChat Forums > Yûkoku (1966) Discussion > Well now I know where that 'Liebestod' s...

Well now I know where that 'Liebestod' sequence in ARIA came from!

posted 16 years ago by roybatty-1
4 replies | jump to latest

The "Bridget Fonda" sequence in ARIA (by Frank Roddam) certainly owes a great deal to this film, although I'd venture this original has a great deal more depth to it than the cynical ARIA piece. Both are shot without dialogue or sound FX, both are accompanied by (and seem inspired by and built around) the exact same piece of music, both involve the same fatalistic resolutions, and both meditate on the power of love to unite even in tragedy.

Much in the same way as Scorsese's AMERICAN BOY was an obvious, transparent analogue to the "adrenaline scene" from PULP FICTION, I wonder how much conscious influence this film had on Roddam's vision?

[–] Sy7 13 years ago

I haven't even heard of the other film till this moment but I'm pretty sure I won't find it as effective since Yûkoku gains lots of its power from the simple fact that it is a Mishima film.

As far as I'm concerned, you can drop off the Earth.

[–] marlon-v30 10 years ago

Well, this idea of "love/death" comes from the last scene in Wagner's Tristan and Isolda. Buñuel had previously made use of the same piece in more or less the same fashion in "Un Chien Andalou".

[–] on3gin 9 years ago

I think the soundtrack was an arrangement of the "Prelude" and "Liebestod" from Wagner's "Tristan und Isolde." They are often played together in concert performances and recordings.

[–] emncaity 9 years ago

I've seen Aria, and you were right to make the comparison.

Have no idea whether Roddam ever saw the Mishima short or not, though. I'd like to know, if you ever find out.