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Cinema's Illusions, Opera's Allure.(Brief Article)
by David Schroeder Continuum Books, 372 pp. $35
David Schroeder's highly personal work, the latest addition to a growing list of books exploring the intimate connections between film and opera, does not attempt to provide a comprehensive historical overview of the subject, as did Robert Fawkes's recent Opera on Film or Ken Wlaschin's 1997 Opera on Screen. Instead, Schroeder (professor of music and film studies at Dalhousie University in Halifax, Nova Scotia) argues that opera has influenced cinema from the beginning, and he supports this with examples going back to the operatically-scaled silent epics of Giovanni Pastrone, D. W. Griffith and Cecil B. DeMille. Schroeder's purview ends in the early 1990s, with Philadelphia (1993), the most recent film to which he gives detailed analysis.
Schroeder's passion for both art forms is invigorating, and he writes in a clear, approachable style that should appeal to a broad audience. He has padded some parts--we don't really need a chapter-long dissection of the role of opera in Norman Jewison's romantic comedy Moonstruck (1987)--but I know I'm happy to read Schroeder's blow-by-blow, Talmudically-detailed interpretation of the Bugs Bunny classic What's Opera, Doc? Schroeder also devotes a welcome chapter to the all-too-brief opera sequences in Citizen Kane. It's a pleasure, at last, to ...
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