It’s remarkable that the German film Schultz Gets the Blues won the Stockholm Film Festival’s Best Screenplay award. There’s very little talking.

“Peppered with wonderfully authentic performances and lively music,” says a review on the back of the DVD.

“Sure,” says Leslie. “The same song over and over again.”

I’d come home halfway through the movie. Angela and Leslie were sprawled on the living room couches, barely paying attention to the man on the TV screen.

“Do you remember his discovery of it?” Leslie asked Angela. “He turns it off and he walks away. And then he walks back and turns it back on again.”

Leslie tried to give me a feel for the experience. Apparently there was no background music in the film, no music at all except when he played the accordion. And what the movie lacked in music and talking, it didn’t make up for elsewhere.

“There’d be someone talking and someone was playing with a fishing pole,” said Leslie, “and you couldn’t hear what they were saying because the fishing pole was making all this racket. That’s because there was no sound editing. Not that there was much sound to edit in the first place. I wasn’t paying attention, and I hadn’t heard any sound for quite a while, like seven minutes, so I thought I’d accidentally pushed the mute button on the remote. So I reached to turn back on the sound, and I realized, ‘It’s not on mute; he just hasn’t done anything.'”

Silent Screenplay

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