Is Mario Lanzas popular music used as a “Red Herring?
Mario Lanza’s popular music may be another “red herring” from Jackson regarding Pauline and Juliet’s relationship (see 3.1.11.4). Lanza’s popular music paints an emotional tone with very broad strokes indeed, so the romantic target may be obscured. All of Lanza’s lush, popular tunes are used in connection with Pauline’s visits with Juliet at Ilam. Hence the emotional connection being illustrated may be Pauline’s growing friendship with Juliet, or it may be her true romantic love for Juliet, or it may be her captivation with the freedom, culture and refinement represented by Ilam and Juliet. “Finiculi, Finicula,” which accompanies Pauline’s night with John-the-lodger, stands in contrast to this theme, but it is not a love song. Maybe Jackson intended Lanza’s songs to be “red herrings” but I must admit they got under my skin and set me up for the emotionally devastating music in the second half of the film.
[jp] Mario Lanza’s popular music may be another “red herring” from Jackson regarding Pauline and Juliet’s relationship (see 3.1.11.4). Lanza’s popular music paints an emotional tone with very broad strokes indeed, so the romantic target may be obscured. All of Lanza’s lush, popular tunes are used in connection with Pauline’s visits with Juliet at Ilam. Hence the emotional connection being illustrated may be Pauline’s growing friendship with Juliet, or it may be her true romantic love for Juliet, or it may be her captivation with the freedom, culture and refinement represented by Ilam and Juliet. “Finiculi, Finicula,” which accompanies Pauline’s night with John-the-lodger, stands in contrast to this theme, but it is not a love song. Maybe Jackson intended Lanza’s songs to be “red herrings” but I must admit they got under my skin and set me up for the emotionally devastating music in the second half of the film.
