![]() ![]() In fact, it wouldn’t be a big deal if you didn’t anticipate the romantic subplot between these two characters from that scene. In the scene prior there was some rather subtle flirtation but nothing overly serious. The music connects them in the moment and when they glance at one another throughout the remainder of the scene the connection is furthered. He takes a look over to his right and the camera dollies right until it stops on Gardner, who is watching the performance closely. The artist established, the scene cuts back to the audience to watch as Beachum sits. The music actually wades in in the background while Beachum is in the lobby, the mystery of Genaux’s distant voice setting up the next scene where a low-angle medium shot of the singer is the first thing we see. To accentuate this, director Gregory Hoblit introduces a scene featuring mezzo-soprano Vivica Genaux performing “Ombra Fedele anch’io” from Broschi’s “Idapse.” He’s won almost all of his cases to date. He’s just met Nikki Gardner, his supervisor, and there is a hint of attraction between them. Willy Beachum, a hotshot lawyer from the DA’s office and protagonist of “Fracture,” is meeting with his prospective new bosses at a concert. This week’s installment features Gregory Hoblit’s “Fracture.” We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. “Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema.
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