Koyaanisqatsi: Life out of Balance, Powaqqatsi: Life in Transformation and Naqoyqatsi: Life as War comprise a trilogy of films by director Godfrey Reggio. The films consist primarily of slow motion and time-lapse photography images of cities, landscapes, and people. There is no dialogue or narration. The three films explore the relationship between humanity, technology and nature. So far, I've only seen the Koyaanisqatsi, the first in the trilogy, and it was phenomenal.
A huge component of what makes these films so powerful is the music of minimalist composer Philip Glass. While preparing the first film, Reggio was determined to have Glass soundtrack it. However, when he approached the composer, he was immediately rebuffed. Glass alledgedly told him simply, "I don't do film music." Reggio persisted, and after several more refusals, he prepared a photo montage of of material from the film and put it to Glass' music. After watching it, Glass immediately agreed to produce the score.
The music is breathtaking. The films may contain no dialogue, but the Glass's compositions are expressive enough to create a narrative of their own. Koyaanisqatsi, in keeping with its chronological place in Glass's discography, is most similar to his earlier minimalist works. However, its symphonic grandeur keeps it from being overly esoteric. The music mirrors the movie's point: there's a clear contrast between the 'music of nature' and the 'music of technology.' As the film builds its chaotic atmosphere, the music follows as the tempo and dynamics pick up, and the looming calm of organs and strings give way to blaring horns and synthesizers.
Powaqqatsi kicks off in somewhat different fashion: chaos. The first track is a jumble of percussion behind the voices children's choir. Synthesizers are much more present than on Koyaanisqatsi, but they work seamlessly with the orchestra, and the overall feel is still one of symphonic majesty. Vocals, often children's, pop up here and there when you least expect it. Some of the tracks throw so many parts together that it sounds like a mad clutter, but Glass fits it all in just right.
In many ways, Naqoyqatsi seems almost a return to the style of the first soundtrack. For one thing, the same booming chants show up on the opener as on Koyaanisqatsi. However, there's also a much more naturalistic feel than on the second installment, perhaps as a counterpoint to this film's more advanced digital techniques. A chance meeting with Yo-Yo Ma resulted in Glass enlisting the legendary cellist's aid, and Ma's cello makes up the centerpiece of the soundtrack. All the pieces are thematically linked so seamlessly that the entire album possesses a sense unity absent from its predecessors.
Typical of Glass, all three albums contain significant elements of world music. A wide variety of instruments, ranging from a traditional orchestra to didjeridoos and the like, as well relatively subdued electronics. Like all good soundtracks should, these albums stand up as great works independent of the film. However, from my experience with Koyaanisqatsi, they are tremendously enhanced by the visual experience, and I highly recommend seeing any of these if you get the chance.
Philip Glass - Koyaanisqatsi: Life out of Balance (1983)
Philip Glass - Powaqqatsi: Life in Transformation (1988)
Philip Glass - Naqoyqatsi: Life as War (2002)
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