As the dialogue shifts and Jim tries to extract information from Claudia about her past, the music slowly reaches its climax and the camera slowly track in towards the characters. Consequentially this allow the viewer to take a breath and imagine this awkward encounter over, we soon find out thought, this is far from the truth.Ĭlaudia and Jim continue their dance in and out of the kitchen, at this point the music is soft and quieter, Jim proceeds to talk to Claudia about the diegetic music volume. On the other hand, Jim desperately trying to tame the bird then follows Claudia out of the kitchen on the exact last beat of the musical bar, signifying his loss. She shows forcefulness and rebellion in every action, again an allusion back to L’amour Est Un Oiseau Rebelle. Each action performed by the characters is done in this same fashion, from the opening and closing of cabinets and handing Jim the coffee cup, the audience become aware of her frustration, of her unwillingness to be domesticated. Each of Claudia’s actions match the height of each stanza, she throws her hands in the air in a action of giving up, then slowly makes her way towards the coffee maker and begins to fill it with water on each consecutive beat. This little action action, however, is critical to understanding Jim’s method of forced flirting with Claudia, leading us into the slow implied dance between the two characters. We are introduced to the situation by a shot of Jim peaking his head into Claudia’s kitchen, an action that normally would be considered rude for a guest to do. Stanley takes no time whatsoever to both recognize the song begin to sing it in French, then the actual song is slowly faded in. Jimmy Gator causally introduces the next question on the game show by asking the kids to recognize a lyric from the opera Carmen and for, “an extra 250 points, sing it back in the original language it was written in.” Jimmy then proceeds to say the lyric in English.Īnd if you call for it, it’ll be quite in vain
Anderson casually introduces the awkwardly forceful scene by setting the viewers up. It showcases Stanley’s immense knowledge as well as the awkward and forceful meeting Cop Jim and cocaine addict Claudia. The use of L’amour est un oiseau rebelle from Georges Bizet’s Carmen as a transition between the stories of Stanley and the unfolding story of Jim and Claudia is a awkward and humorous uses of classical opera. Anderson’s mix of contemporary, classical, and original scores creates a mood within Magnolia that is both cacophonous and redemptive.
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