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Tele Vision
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Tele Vision

Music always figures big in a ski film and it figures huge in Jonah Howell’s 2010 offering from Powderwhore Productions.  Howell loves long telescoping single-edit shots of monstrous lines.  He captures the massive scale of the mountains and in showing the skier hitting it without cutting away to another angle he makes it apparent, in no uncertain terms, the type of guts it takes to ski some of these lines.  You get to see the whole thing all at once.   Now, choose your music right so as to let the drama of the descent unfold and you can create ski magic and that’s exactly what Howell delivers.    After opening with a skinning sequence of pretty HD snow scenes (that in retrospect seems out of place) “Tele-Vision” runs like a good DJ set.  It opens smooth and mellow with the reggae vibes of “How You Livin” from D.C.’s See-I and some breezy, seemingly effortless (but still thrilling) skiing by Paul Kimbrough.  As the film progresses the tempo picks up and there’s some great footage of Megan Michelson (who got nominated in the Best Female category at the 2011 Powder Video Awards for this sequence), as well as co-director Noah Howell and Jason West skiing terrific lines to tracks like Colourmusic’s “Yes” and The Helio Sequence’s “Repeater”.  Ty Dayberry breaks it up by hitting the park, which on regular skis is a challenge but on telemark skis is an absolute major feat.  Chris Erickson, Will Cardamone, Nick Devore and Andy Jacobsen then get down to business skiing big, astounding slopes in Haines, Alaska with big sounding tracks from Unkle and Pretty Lights.  It’s made all the more amazing when you learn that they hiked these hills to earn their turns.  No choppers.  By the time of Jake Sakson’s sequence, the party hits high gear as Mux Mool’s track “Death 9000” kicks in and Sakson launches himself down lines worthy of Ian McIntosh or Seth Morrison.  Sakson doesn’t believe in turning much and as he guns it your jaw hits the floor.  And then, in the final segment, “Tele-Vision” puts you back down on the ground, just like any good DJ after taking you on a trip, with a seriously, insanely deep electronic bass line from Pretty Lights (one more time) to soundtrack skiing in some seriously, insanely deep pow.  You roll out of this movie with an energetic pulse and insatiable desire to ski.  The fake commercials at the beginning of each sequence (obviously adding the television feel to “Tele-Vision”) are totally worthy of Saturday Night Live if that show was written by skiers (the “Brogaine” ad stands out the best).  “Tele-Vision” has a great vibe, great sequences and with Powderwhore’s inimitable style is a great addition to the year’s ski movie collection.   By Mark “The Attorney General” Quail

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Reviewed by AttorneyGeneral on May 16, 2011

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