The Saddest Music in The World

The Saddest Music in the World is a 2003 Canadian film directed by Guy Maddin, budgeted at $3.8-million (a large budget in Canadian terms) and shot over 24 days. The film was Maddin's first collaboration with Isabella Rossellini, who subsequently appeared in a number of Maddin's films, and co-created a film with him about her father Roberto Rossellini.

Maddin and co-writer George Toles based the film on an original screenplay written by Booker Prize-winning novelist Kazuo Ishiguro, from which they kept "the title, the premise and the contest – to determine which country’s music was the saddest" but otherwise re-wrote. Like most of Guy Maddin's films, The Saddest Music in the World is filmed in a style that imitates late 1920s and early 1930s cinema, with grainy black-and-white photography, slightly out-of-sync sound and expressionist art design. A few scenes are filmed in colour, in a manner that imitates early two-strip Technicolor.

Read more about The Saddest Music In The World:  Plot, Cast, Release, Awards and Honors, Critical Reception

Other articles related to "the saddest music in the world":

The Saddest Music In The World - Critical Reception
... The Saddest Music in the World was well-received by critics, with a 78/100 rating by review aggregator Metacritic, based on 33 critics ...

Famous quotes containing the words the world, world, saddest and/or music:

    Softly sweet in Lydian measures
    Soon he soothed his soul to pleasures.
    ‘War’, he sung, ‘is toil and trouble;
    Honour but an empty bubble.
    Never ending, still beginning,
    Fighting still, and still destroying;
    If the world be worth thy winning,
    Think, O think it worth enjoying.
    Lovely Thais sits beside thee,
    Take the good the Gods provide thee.’
    John Dryden (1631–1700)

    Samuel Sewall, in a world of wigs,
    Flouted opinion in his personal hair;
    For foppery he gave not any figs,
    But in his right and honor took the air.
    Anthony Hecht (b. 1923)

    The saddest thing the thinker can say to the artist is this: “So, could you not watch with me one hour?”
    Friedrich Nietzsche (1844–1900)

    As if, as if, as if the disparate halves
    Of things were waiting in a betrothal known
    To none, awaiting espousal to the sound
    Of right joining, a music of ideas, the burning
    And breeding and bearing birth of harmony,
    The final relation, the marriage of the rest.
    Wallace Stevens (1879–1955)