For reasons I’m not sure I entirely understand, I happened last week on this clip from the old movie, Lili. It features the song “Hi Lily, Hi Lo,” which was a very big hit when I was a very little boy. I realized, somewhat to my own surprise, that this might be my favorite song in the world.
The situation here is that Lili, an orphan in post-war France, has just lost her job in a carnival, and has been rejected by a man she thought she loved. She is contemplating suicide when the puppeteer, speaking through his puppets, engages her in conversation. Soon she is having a wonderful time. Then comes the song. I’ve watched this clip again and again, and I’m fascinated by the storytelling skill of the screenwriter, Helen Deutsch.
Notice something strange in the scene? The song is (as the lyrics say), a sad song. And indeed, most of the many performers who’ve covered it since have slowed it down and sung it soulfully, with a different chorus. But Deutsch is doing a subtle and interesting thing here. She’s creating deliberate ambiguity. The words of the song don’t match the mood of the scene. That would be a great writing error if the writer didn’t know what she was doing. But this ambiguity creates a tension in the mind of the viewer. And that tension’s like Chekhov’s famous gun – if you hang it on the wall, you’ve got to use it before the play is over. Continue reading ‘Lili’ and the magic of storytelling