Neil Abrahamson Robert Altman Jennifer Augé Marie-Thérèse Boiché Michael Bradsell Peter Cartwright Angus Cook Mike Cragg Stephen P. Dunn Rick Elgood Tony Lawson Matthew Longfellow Paul Naisbitt
Aria is a 1987 British anthology film produced by Don Boyd that consists of ten short films by ten different directors, each showing the director's choice of visual accompaniment to one or more operaticarias. There is little or no dialogue from the actors, with most words coming from the libretto of the operas in Italian, French, or German.
A fictionalised account of the visit by King Zog I of Albania to Vienna in 1931, to see a lover, when opponents tried to assassinate him on the steps of the opera house (in fact after leaving a performance of Pagliacci) but by shooting back he survived.
In a gym, two young women working as cleaners are entranced by the muscles of the male bodybuilders, who maintain their concentration even when the women strip.
A bedroom farce set in the Madonna Inn at San Luis Obispo, in which a movie producer cheats on his wife with a pneumatic German starlet while unaware that his spouse is also there in the inn with a clandestine hunk of her own. The finale is a dance routine to La donna è mobile sung by an Elvis impersonator.
In the seemingly dead city of Bruges in winter, footage of empty buildings in deserted streets is intercut with a duet of two lovers in an ornate bed chamber.
Unconscious after a car crash, a lovely young girl imagines her body is being adorned with diamonds and rubies in a tribal ritual, when in fact it is the preparations for surgery. After nearly dying on the operating table, she regains consciousness.
The closing credits, after replaying a small excerpt of each of the ten operas, are again set to the overture to Giuseppe Verdi's La traviata, thus closing the cycle.
The American writer Leonard Maltin did not seem to appreciate the work: "Godawful collection of short films, each one supposedly inspired by an operatic aria. Precious few make sense, or even seem to match the music, some are downright embarrassing. Roddam's bittersweet Las Vegas fable (set to Tristan und Isolde), Beresford's sweet and simple rendering of Erich Wolfgang Korngold's Die tote Stadt are among the better segments—relatively speaking. A pitiful waste of talent."
Giving it three stars, Roger Ebert wrote: "I am not sure that any indispensable statement about opera has been made here, and purists will no doubt recoil at the irreverence of some of the images. But the film is fun almost as a satire of itself, as a project in which the tension between the directors and their material allows them to poke a little fun at their own styles and obsessions. You could almost call Aria the first MTV version of opera."[2]
