I know that it has been a long time since I last posted but life has got in the way of things. So I am back with one of the first ever scores that I ever listened to. It is from one of my favorite kids movies ever, The Lion King. I am seriously hooked on this film, I have my own Simba and Nala.
I digress, most people do not know that this score is an Oscar Winner. It shocked me too when I found out. Plus it has a true powerhouse of musicians involved in it, Sir Elton John, Sir Tim Rice, and Hans Zimmer.
I know I haven't reviewed anything that had true lyrics before or was classified as a musical but here we go...
"The Circle of Life" is the perfect picture of a grand promenade. It does exactly what a score should do and that is help you to visualize the scene in the film. I really don't have much to say about this one.
"I Just Can't Wait To Be King" is one of those that I think even 3 year olds can sing along to, quite happily. It is very simple and bouncy. Which is fine because that it what it is supposed to be.
"Be Prepared" is one of those little gems that women can enjoy when the kids are away. Let me explain...Jeremy Irons plays Scar in this film and sings. Woman drool over Jeremy Irons (lord knows I do). So when the kids are away break out the yummy Jeremy Irons baritone notes and a nice romance novel and have a great time. Musically it works very well. This scene is for all of those WWII buffs, in that it recreates a Nazi rally. Seriously...go Disney!!
"Hakuna Matata" brings out one of my favorite people, Nathan Lane. I love him, he is such a character in everything that he does. This has the wonderful cheery Disney bouncy to it that most people can enjoy. It works just as well as a bottle of prozac. Oh a funny note, we find out that Jonathan Taylor Thomas can't sing, that really isn't his voice. There is a random woman's voice in the song that I just can't place too.
"Can You Feel The Love Tonight" was the "it" song in the film. It was the one that you heard played over and over again on the radio stations in the mid 90's. It didn't get as bad at that darn song from Titanic. This is the film version which, I like better than the single radio edit.
"This Land" is where the instrumental stuff kicks in. It shows the film score world who Hans Zimmer is, now that most of us rock out to his stuff now from Pirates of the Caribbean to Hannibal. This piece features a very dark sounding strings ensemble. It has a background choir that makes this piece so haunting.
"To Die For" is from the stampede scene in the film. I just love this piece on so many levels. It is active, in your face, but unique. Now, I have been rather nerdy with this score over the years, the wildabeast's hooves are making the same exact rhythm that the lower strings and the drums are making. Nifty ain't it?
"Under the Stars" is probably one of my favorite pieces in any Disney film prior to Pirates of the Caribbean. It is very light and delicate to start with but it paints a wonderful image of the scene in your head. This piece brings out the subtle theme of Rafiki that fun little blue-butt baboon. This theme is staggered throughout the film in several places. My favorite is at 2:33, the running through the shrubs scene. Then at 3:00 it has this amazing African chant and the scene where Simba is running across the desert, amazing.
"King of Pride Rock" is another one of my favorites. It opens with a very dark sounding oboe soli and in 3/4 time which just makes everything sound very depressing and forboding. This piece reminds me a lot of Pirates of the Caribbean in several ways, the progression, the chords, and the instrumentation. I do enjoy the amazing transitions between the various sections of the piece. It just flows and never with a definite ending but one propels to the other and so on. The last 2 minutes of the piece are probably the most remarkable and what probably won the Oscar for Hans Zimmer. It is so breathtaking that it leaves me with goosebumps every time that I hear it. The African chant at the end of the piece just seems to bring everthing to a perfect ending that most people can recognize. The lyrics are the "Circle of Life" which bookends the film rather nicely.
Yes, I know that there are three other songs on the actual album but I will not be reviewing them, simply because they aren't in the actual film. They are Elton John's versions of songs that are in the film. They are worth a listen if you didn't hear them on the radio enough the first 100 times.
Most of the people that I tell that this is one of my favorite scores, they look at me rather weirdly. I hope that this helps out the confusion. This is an Oscar winning score for several very good reasons. Now if only Hans Zimmer can get another Oscar which he so deserves.
Happy listening,
FilmScored
Friday, November 21, 2008
Monday, October 20, 2008
Potty you are such a Rotty
I should probably start this by saying I am a few steps beyond Potter-maniac. I love the books, the movies have always been less than stellar. However, my favorite actor is in there so I can't complain because I get some awesome eye candy for what short amount of time he is on screen. I mean Alan Rickman. I digress.
I am starting off with this one because it is the best score of the series yet. I am not joking. The John Williams scores make me want to gag with the fluffy and in-your-face nature of it and the Patrick Doyle one just seems completely confused half the time.
For those who don't know, I have seen this film in theatres well over 60 times and all but 2 of them were in an IMAX Dome. There is a simple and logical explanation to this, I was an intern/console operator when this film was released. I also had the joy of putting this film together as my internship project.
So....back to the task at hand, on with the review.
"Fireworks" is out of place and I have no idea as to why this is the first piece in the score. That aside, this is brilliant. As a mallet percussionist, I soaked this score up. This proves that mallets can hold the melody in a major film score. The amazing changing meter in this is remarkable, it reminds me of my high school days when I was playing some James Sweringer pieces.
"Professor Umbridge" is a great theme on so many levels. It is overly fluffy (as it should be) it greats on your nerves (yet again, supposed to) and makes you picture Imelda Staunton. The piece quite literally bounces around. I feel like I should be bouncing up and down on a pogo stick when listening to this. It is fun with just the slightest undercut of creepy added in for good measure.
"Another Story" is the intro music into the film. It is that wonderful moment at midnight showings when 6 year olds that should have been sleeping nearly wet themselves from excitement. It also brings in the "Hedwig's Theme" that was presented in the first Potter film. I can clearly visualize this entire opening scene because of this piece and because of all the times that I have seen this film. It is very depressing but it works. I am greatly pleased that this piece didn't favor heavily on the original "Hedwig's Theme" because it simply doesn't need to.
"Dementors in the Underpass" is one of those classic pieces in a score that tell a story. It simply gives you everything that you need to know. It quite literally is the scene in this case. There is hardly any dialogue which brings this piece right up front and lets you know of the emotion going on. It does feel like a horror film score for a second but don't worry it is fleeting.
"Dumbledore's Army" starts off rather slow and sad because we are getting to the point in the series that Harry turns into an emo kid and starts being depressed. However, it does a complete 360 in the feel and presents a lively little theme. It has some niece little clarinet and brass melodic lines in it.
"Hall of Prophecies" is another completely out of place piece in order on the disc. I am not used to it. I guess I have been spoiled by John Williams and the like in that regard. This piece is rather mystical in feeling and suspicious. It also has a nice little muffled "Hedwig's Theme" in there. It also brings in some little electronic instruments in there, which work quite well. It has a very slow melodic line that keeps on building to an amazing rhythmic strings sectional. The pace goes from slow to blindingly fast in less than 2 beats.
"Possession" is actually in order with the previous piece. It is a very creepy piece, and rightfully so. It is at the part of the film where Harry's eyes turn green (I know they are supposed to be throughout the entire film series but I don't think the directors got that memo). This is another one of those pieces where I can see everything going on in the scene and can quote the dialogue, word for word. I simply can't listen to this piece without seeing the scene in my head.
"The Room of Requirements" is one of those golden pieces that I can listen to over and over and never get bored with it. It has double-sticking mallets, how can a mallet player not enjoy this? It also has mallet feature. I adore this piece. It brings out what makes mallet percussion amazing. I am terribly biased and I am sorry but in this it works. To hear the xylo that crisp is stunning and remarkable all at the same time. I am parroting on about this because most composers tend to shy away from mallet percussion in films for some odd reason. They hardly ever carry the entire piece. So I will make a plea that there be more of this in the future of cinema.
"The Kiss" is that moment on screen where you get a bunch of immature people hooting and hollering. There really isn't much to the piece and it greatly overshadowed by the previous one, but oh well.
"A Journey to Hogwarts" is another one that should have been at the beginning but isn't. It also harks back to theme that most people think of when they think of the Harry Potter films. However, it does turn that theme on its head. This piece also harks back to the opening film theme. Toward the end of this piece I can picture this scene in the film, which is a good thing in film scores.
"The Sirius Deception" starts off very dark and brooding. This is the start of the battle scene in the film, which I absolutely love this theme. It is the perfect theme in which to prep for something. That leads to the thestral flying scene which is very pretty as is the piece.
"The Death of Sirius" is the real battle theme. It has this awesome chanting in the background that fades into nothingness. Then it practically explodes with this amazing and powerful rhythmic sequence that gets tossed around from string instrument to string instrument. It also has a nice light choice part that opens up right at the perfect moment. Then everything fades into this absolute gut wrenching segment. No need to explain what is going on there.
"Umbridge Spoils a Beautiful Morning" is one of those humorous scenes in the film that give it its light and fluffy side. It brings back the great Umbridge theme, that still makes people shout "make it go away" like it should. This film has made several friends of mine never want to see kittens or pink ever again.
"Darkness Takes Over" is one of those pieces that confuses me as to where it goes. I honestly can't remember. It reminds me greatly of the tornado scene in "The Wizard of Oz" and I honestly don't know why.
"The Ministry of Magic" is one of the most quirky themes that I have heard in a long time and I love it. It has a rather amusing little oboe solo at the beginning which is shortly joined in by various woodwinds and bells. It makes a marvelous transition into a very chamber-like feel into a grandiose full orchestra theme.
"The Sacking of Trelawney" is bringing in all of the sadness that it possibly can and still relate it to the film. It has loads of strings and still some mallet percussion in the back. The tempo is very slow and deliberate.
"Flight of the Order of the Phoenix" is the IMAX moment in the film, without a doubt. The Order is flying through London. It is a remarkable theme. I love it, is gives a feeling of soaring but with power, with the use of some well placed snare and bass drum.
"Loved Ones and Leaving" used to hold the top slot on my most played list on iTunes for a long time until "Atonement" came along. There is just something about this piece that pulls me to it. I really and truly can't explain it. It is beautifully orchestrated. I know that there isn't much description behind it but it is one of those rare few ending pieces that wraps everything up in a little package and yet gives you something extra to cling on to. It is a very hopeful piece, if that makes any sense at all. As I am listening to this, I noticed something amazingly brilliant and that is it is the only perfect authentic cadence in the entire score. That says a lot, it is a definite end. To me that is stunning.
I know that some of you may feel that I should have done the other Potter films first but I refuse. Sorry if you were looking for sweet reviews about them. If I did, it wouldn't be worth my time and all I would end up saying is "it is played up crap" over and over and over again. So for those of you wondering which score to listen to with children while reading the Potter books for the 10 millionth time, it is this one.
Happy listening,
FilmScored
I am starting off with this one because it is the best score of the series yet. I am not joking. The John Williams scores make me want to gag with the fluffy and in-your-face nature of it and the Patrick Doyle one just seems completely confused half the time.
For those who don't know, I have seen this film in theatres well over 60 times and all but 2 of them were in an IMAX Dome. There is a simple and logical explanation to this, I was an intern/console operator when this film was released. I also had the joy of putting this film together as my internship project.
So....back to the task at hand, on with the review.
"Fireworks" is out of place and I have no idea as to why this is the first piece in the score. That aside, this is brilliant. As a mallet percussionist, I soaked this score up. This proves that mallets can hold the melody in a major film score. The amazing changing meter in this is remarkable, it reminds me of my high school days when I was playing some James Sweringer pieces.
"Professor Umbridge" is a great theme on so many levels. It is overly fluffy (as it should be) it greats on your nerves (yet again, supposed to) and makes you picture Imelda Staunton. The piece quite literally bounces around. I feel like I should be bouncing up and down on a pogo stick when listening to this. It is fun with just the slightest undercut of creepy added in for good measure.
"Another Story" is the intro music into the film. It is that wonderful moment at midnight showings when 6 year olds that should have been sleeping nearly wet themselves from excitement. It also brings in the "Hedwig's Theme" that was presented in the first Potter film. I can clearly visualize this entire opening scene because of this piece and because of all the times that I have seen this film. It is very depressing but it works. I am greatly pleased that this piece didn't favor heavily on the original "Hedwig's Theme" because it simply doesn't need to.
"Dementors in the Underpass" is one of those classic pieces in a score that tell a story. It simply gives you everything that you need to know. It quite literally is the scene in this case. There is hardly any dialogue which brings this piece right up front and lets you know of the emotion going on. It does feel like a horror film score for a second but don't worry it is fleeting.
"Dumbledore's Army" starts off rather slow and sad because we are getting to the point in the series that Harry turns into an emo kid and starts being depressed. However, it does a complete 360 in the feel and presents a lively little theme. It has some niece little clarinet and brass melodic lines in it.
"Hall of Prophecies" is another completely out of place piece in order on the disc. I am not used to it. I guess I have been spoiled by John Williams and the like in that regard. This piece is rather mystical in feeling and suspicious. It also has a nice little muffled "Hedwig's Theme" in there. It also brings in some little electronic instruments in there, which work quite well. It has a very slow melodic line that keeps on building to an amazing rhythmic strings sectional. The pace goes from slow to blindingly fast in less than 2 beats.
"Possession" is actually in order with the previous piece. It is a very creepy piece, and rightfully so. It is at the part of the film where Harry's eyes turn green (I know they are supposed to be throughout the entire film series but I don't think the directors got that memo). This is another one of those pieces where I can see everything going on in the scene and can quote the dialogue, word for word. I simply can't listen to this piece without seeing the scene in my head.
"The Room of Requirements" is one of those golden pieces that I can listen to over and over and never get bored with it. It has double-sticking mallets, how can a mallet player not enjoy this? It also has mallet feature. I adore this piece. It brings out what makes mallet percussion amazing. I am terribly biased and I am sorry but in this it works. To hear the xylo that crisp is stunning and remarkable all at the same time. I am parroting on about this because most composers tend to shy away from mallet percussion in films for some odd reason. They hardly ever carry the entire piece. So I will make a plea that there be more of this in the future of cinema.
"The Kiss" is that moment on screen where you get a bunch of immature people hooting and hollering. There really isn't much to the piece and it greatly overshadowed by the previous one, but oh well.
"A Journey to Hogwarts" is another one that should have been at the beginning but isn't. It also harks back to theme that most people think of when they think of the Harry Potter films. However, it does turn that theme on its head. This piece also harks back to the opening film theme. Toward the end of this piece I can picture this scene in the film, which is a good thing in film scores.
"The Sirius Deception" starts off very dark and brooding. This is the start of the battle scene in the film, which I absolutely love this theme. It is the perfect theme in which to prep for something. That leads to the thestral flying scene which is very pretty as is the piece.
"The Death of Sirius" is the real battle theme. It has this awesome chanting in the background that fades into nothingness. Then it practically explodes with this amazing and powerful rhythmic sequence that gets tossed around from string instrument to string instrument. It also has a nice light choice part that opens up right at the perfect moment. Then everything fades into this absolute gut wrenching segment. No need to explain what is going on there.
"Umbridge Spoils a Beautiful Morning" is one of those humorous scenes in the film that give it its light and fluffy side. It brings back the great Umbridge theme, that still makes people shout "make it go away" like it should. This film has made several friends of mine never want to see kittens or pink ever again.
"Darkness Takes Over" is one of those pieces that confuses me as to where it goes. I honestly can't remember. It reminds me greatly of the tornado scene in "The Wizard of Oz" and I honestly don't know why.
"The Ministry of Magic" is one of the most quirky themes that I have heard in a long time and I love it. It has a rather amusing little oboe solo at the beginning which is shortly joined in by various woodwinds and bells. It makes a marvelous transition into a very chamber-like feel into a grandiose full orchestra theme.
"The Sacking of Trelawney" is bringing in all of the sadness that it possibly can and still relate it to the film. It has loads of strings and still some mallet percussion in the back. The tempo is very slow and deliberate.
"Flight of the Order of the Phoenix" is the IMAX moment in the film, without a doubt. The Order is flying through London. It is a remarkable theme. I love it, is gives a feeling of soaring but with power, with the use of some well placed snare and bass drum.
"Loved Ones and Leaving" used to hold the top slot on my most played list on iTunes for a long time until "Atonement" came along. There is just something about this piece that pulls me to it. I really and truly can't explain it. It is beautifully orchestrated. I know that there isn't much description behind it but it is one of those rare few ending pieces that wraps everything up in a little package and yet gives you something extra to cling on to. It is a very hopeful piece, if that makes any sense at all. As I am listening to this, I noticed something amazingly brilliant and that is it is the only perfect authentic cadence in the entire score. That says a lot, it is a definite end. To me that is stunning.
I know that some of you may feel that I should have done the other Potter films first but I refuse. Sorry if you were looking for sweet reviews about them. If I did, it wouldn't be worth my time and all I would end up saying is "it is played up crap" over and over and over again. So for those of you wondering which score to listen to with children while reading the Potter books for the 10 millionth time, it is this one.
Happy listening,
FilmScored
Thursday, October 16, 2008
The Best of the Best
It comes as no surprise to many people that I have very strict standards as to what constitutes an excellent film score. Most of those standards can't honestly be written down in any form other than if a score moves me then it automatically gets bumped up to those higher positions.
This score is that. It is an amazing masterpiece written by Dario Marianelli, whom has risen to be one of my favorite composers just after having a very few scores in the mainstream. Those being "Pride and Prejudice", "V For Vendetta", and "Atonement". The one that I am reviewing now is "Atonement". So here we go...
"Briony" is one of those pieces that just hits you at all ends for several reasons. The typewriter used as an instrument just pops out at you and you just can't take your mind off of it. Then the syncopation that follows with every instrument is breathtaking to the very least. It actually can probably be one of the best opening themes ever in a film.
"Robbie's Note" presents the theme of the character Robbie. It is just pure beauty in its clarinet feature that just tugs at your heartstrings. Then to have the piano follow behind that with the cello accompaniment is brilliant within the entire morose sounding piece. I must mention that the pianist is the same one used in "Pride and Prejudice".
"Two Figures By A Fountain" presents the variation on the theme for Briony. The piano just seems to sense some form of nasty intrigue. It just seems to continue to drive the piece home with just frantic energy. It is very short but it gets the point across.
"Cee, You and Tea" harks to the theme of Robbie but it is presented in a manor to suggest a connection between Robbie and Cecelia. It is then followed by the frantic rhythmic sequence that seems to follow Briony's character throughout her youth. The atonal nature of the ending along with the typewriter is just stunning.
"With My Own Eyes" opens with the theme for Briony again and with the typewriter to add that amazing effect to the piece. It makes it seem more and draws you in. The rhythmic sequences are what moves me. To think that something like a piano or a violin can be used in such a percussive manner is genius and not often used effectively. When the piano and typewriter drop out, a typical symphonic orchestra is heard and continuing to hark to the original theme but with added tension. In many ways this piece feels like a driving force. It is minor in its key but it is hugely important for the film and can actually be considered as some form of foreshadowing and possibly a plot device for the entire film. The typewriter rhythmic sequence with a seeming half cadence is just a brilliant way to keep things moving.
"Farewell" is, if it is at all possible, a more morose version of the theme for Robbie. The tempo has greatly slowed to add dramatic effect on the piece as a whole. The adding of the harmonica is a great device used to further the point of a lonely man in a distant land. It seems to almost symbolize loneliness and travel. I think the composer used that to his advantage, the harmonica is playing all on its own and never with the orchestra but the orchestra does a answer to the harmonica's call in its melody.
"Love Letters" is one of those pieces that seems to get stuck in my head. I will hum the piano theme for hours. The combination of the piano and the cello just seem to resonate with me for some reason. It is simply moving on every level. The piece almost sounds like something from the baroque period but it isn't. It just is remarkable.
"The Half Killed" is one of the pieces that I would walk to class listening to, almost over and over. Yet again, I was an interesting college student. However, I think my reasoning behind it was that it is a very driving piece. The bass line almost resembles that of a plodding step. To have the piano break in unexpectedly it just drives everything forward into a breathtaking destination.
"Rescue Me" starts as another reprise of the theme for Robbie. It is very similar in feeling to the earlier piece "Farewell". This piece does have more strings in the melody that seem to bring a sense of absolute anguish to the surface. Everything about this piece seems to forecast some sort of pain, be it emotional or physical. Yet again, the piano and cello do have a part but not as involved in other pieces with the score. It has less chords and much more simplistic melodies.
"Elergy for Dunkirk" is my all time favorite piece in any film ever! It is quite literally the most played song on my iTunes almost 3 times as much as the next piece. The scene within the film is a wonderful long take (which I love) and to have this piece in the background it is amazing. The choir is stunning. The all male choir is being circled, quite literally. The sound of the choir follows the camera. This piece takes you through Dunkirk and the shore. It follows the camera wherever it goes which is actually remarkable for a score. Most just pick up on cue by a character or something, hardly ever just follow the camera, almost giving background music. I wish more films would do that. The effect is stunning.
"Come Back" is a piece that is titled by a piece of dialogue between the two main characters. The piece opens with a peaceful rendition of "White Cliffs of Dover". Then it just seems to have a seamless transition to the main theme that has followed Robbie around. It also is the first time in the entire score that there has been a meshing of the Briony theme and the Robbie theme. Both themes are very different but this is the first time that they have been brought into a single piece together. The typewriter comes in again to throw every person for a loop. The rhythm builds to a huge organ melody line that will quite literally take your breath away, the crescendo is maddening. After the organ dies down, the original theme comes back into play with this piece to add a nice little bookend effect to the piece.
"Denouement" starts off like most of the other pieces within this score. It has a slightly faster tempo than "Farewell" but it is very similar. This however is the first time that the harmonica is heard with an accompanying orchestra. Then the orchestra takes over where the harmonica left off.
"The Cottage on the Beach" starts off with the rather depressing sounding piano as the melody. I like the simplicity of the score but it can seem rather monotonous, like right now. Everything is sounding quite similar. However, most people would call that a downside, I don't, I can clearly see the scene in my head, which is what a score is supposed to do as well as move you emotionally in the correct way that the film is going. The way that it breaks away from the other pieces is the second half of the piece has an amazing piano section of progressing intervals.
"Atonement" is the typical end credit theme music with a twist. It has everything from the actual film but presented a little differently. It isn't like those annoying John Williams Harry Potter end credit things where you quite literally listen to the film score edited into something that will fit the entire length of the credits. It does follow the general conventions in that it is longer than most of the other pieces, but not by much. This piece wraps up the entire score into a nice little bow, which is nice and refreshing on so many levels.
"Clair de Lune" is included in the score because of a nice scene between the older Briony and a wounded French soldier talking about his sister and how she plays "Clair de Lune" well. This Debussy piece is probably one of his most well known pieces. I rather like this version. In the film it isn't in your face and playing while the conversation is going on, oh no. It is playing after the conversation and in a subtle way that true musicians can appreciate. If you know the piece then you would recognize it in the film.
This score has only one tiny little fault and that it is very similar to itself. There are barely 2 main themes within this score. I find it rather refreshing but others think that a score must have a theme for every main character. Not so. It only needs that when you think your audience is dumb as bricks. Well with basically every main stream American made film you get those kind of scores so, that's their target listening for their scores, a bunch of people who don't even understand that they are listening to music and watching a film at the same time.
I have taught this score in my private lessons. When this film came out I had my student come with me to see the film and she had to pick a way in which this score was different, a way in which Dario Marianelli utilized a non musical item and turned it into a musical instrument, and a way in which the cues were featured in the film. When I can teach a 15 year old about scores by using this one, it is a good day.
Happy listening,
FilmScored
This score is that. It is an amazing masterpiece written by Dario Marianelli, whom has risen to be one of my favorite composers just after having a very few scores in the mainstream. Those being "Pride and Prejudice", "V For Vendetta", and "Atonement". The one that I am reviewing now is "Atonement". So here we go...
"Briony" is one of those pieces that just hits you at all ends for several reasons. The typewriter used as an instrument just pops out at you and you just can't take your mind off of it. Then the syncopation that follows with every instrument is breathtaking to the very least. It actually can probably be one of the best opening themes ever in a film.
"Robbie's Note" presents the theme of the character Robbie. It is just pure beauty in its clarinet feature that just tugs at your heartstrings. Then to have the piano follow behind that with the cello accompaniment is brilliant within the entire morose sounding piece. I must mention that the pianist is the same one used in "Pride and Prejudice".
"Two Figures By A Fountain" presents the variation on the theme for Briony. The piano just seems to sense some form of nasty intrigue. It just seems to continue to drive the piece home with just frantic energy. It is very short but it gets the point across.
"Cee, You and Tea" harks to the theme of Robbie but it is presented in a manor to suggest a connection between Robbie and Cecelia. It is then followed by the frantic rhythmic sequence that seems to follow Briony's character throughout her youth. The atonal nature of the ending along with the typewriter is just stunning.
"With My Own Eyes" opens with the theme for Briony again and with the typewriter to add that amazing effect to the piece. It makes it seem more and draws you in. The rhythmic sequences are what moves me. To think that something like a piano or a violin can be used in such a percussive manner is genius and not often used effectively. When the piano and typewriter drop out, a typical symphonic orchestra is heard and continuing to hark to the original theme but with added tension. In many ways this piece feels like a driving force. It is minor in its key but it is hugely important for the film and can actually be considered as some form of foreshadowing and possibly a plot device for the entire film. The typewriter rhythmic sequence with a seeming half cadence is just a brilliant way to keep things moving.
"Farewell" is, if it is at all possible, a more morose version of the theme for Robbie. The tempo has greatly slowed to add dramatic effect on the piece as a whole. The adding of the harmonica is a great device used to further the point of a lonely man in a distant land. It seems to almost symbolize loneliness and travel. I think the composer used that to his advantage, the harmonica is playing all on its own and never with the orchestra but the orchestra does a answer to the harmonica's call in its melody.
"Love Letters" is one of those pieces that seems to get stuck in my head. I will hum the piano theme for hours. The combination of the piano and the cello just seem to resonate with me for some reason. It is simply moving on every level. The piece almost sounds like something from the baroque period but it isn't. It just is remarkable.
"The Half Killed" is one of the pieces that I would walk to class listening to, almost over and over. Yet again, I was an interesting college student. However, I think my reasoning behind it was that it is a very driving piece. The bass line almost resembles that of a plodding step. To have the piano break in unexpectedly it just drives everything forward into a breathtaking destination.
"Rescue Me" starts as another reprise of the theme for Robbie. It is very similar in feeling to the earlier piece "Farewell". This piece does have more strings in the melody that seem to bring a sense of absolute anguish to the surface. Everything about this piece seems to forecast some sort of pain, be it emotional or physical. Yet again, the piano and cello do have a part but not as involved in other pieces with the score. It has less chords and much more simplistic melodies.
"Elergy for Dunkirk" is my all time favorite piece in any film ever! It is quite literally the most played song on my iTunes almost 3 times as much as the next piece. The scene within the film is a wonderful long take (which I love) and to have this piece in the background it is amazing. The choir is stunning. The all male choir is being circled, quite literally. The sound of the choir follows the camera. This piece takes you through Dunkirk and the shore. It follows the camera wherever it goes which is actually remarkable for a score. Most just pick up on cue by a character or something, hardly ever just follow the camera, almost giving background music. I wish more films would do that. The effect is stunning.
"Come Back" is a piece that is titled by a piece of dialogue between the two main characters. The piece opens with a peaceful rendition of "White Cliffs of Dover". Then it just seems to have a seamless transition to the main theme that has followed Robbie around. It also is the first time in the entire score that there has been a meshing of the Briony theme and the Robbie theme. Both themes are very different but this is the first time that they have been brought into a single piece together. The typewriter comes in again to throw every person for a loop. The rhythm builds to a huge organ melody line that will quite literally take your breath away, the crescendo is maddening. After the organ dies down, the original theme comes back into play with this piece to add a nice little bookend effect to the piece.
"Denouement" starts off like most of the other pieces within this score. It has a slightly faster tempo than "Farewell" but it is very similar. This however is the first time that the harmonica is heard with an accompanying orchestra. Then the orchestra takes over where the harmonica left off.
"The Cottage on the Beach" starts off with the rather depressing sounding piano as the melody. I like the simplicity of the score but it can seem rather monotonous, like right now. Everything is sounding quite similar. However, most people would call that a downside, I don't, I can clearly see the scene in my head, which is what a score is supposed to do as well as move you emotionally in the correct way that the film is going. The way that it breaks away from the other pieces is the second half of the piece has an amazing piano section of progressing intervals.
"Atonement" is the typical end credit theme music with a twist. It has everything from the actual film but presented a little differently. It isn't like those annoying John Williams Harry Potter end credit things where you quite literally listen to the film score edited into something that will fit the entire length of the credits. It does follow the general conventions in that it is longer than most of the other pieces, but not by much. This piece wraps up the entire score into a nice little bow, which is nice and refreshing on so many levels.
"Clair de Lune" is included in the score because of a nice scene between the older Briony and a wounded French soldier talking about his sister and how she plays "Clair de Lune" well. This Debussy piece is probably one of his most well known pieces. I rather like this version. In the film it isn't in your face and playing while the conversation is going on, oh no. It is playing after the conversation and in a subtle way that true musicians can appreciate. If you know the piece then you would recognize it in the film.
This score has only one tiny little fault and that it is very similar to itself. There are barely 2 main themes within this score. I find it rather refreshing but others think that a score must have a theme for every main character. Not so. It only needs that when you think your audience is dumb as bricks. Well with basically every main stream American made film you get those kind of scores so, that's their target listening for their scores, a bunch of people who don't even understand that they are listening to music and watching a film at the same time.
I have taught this score in my private lessons. When this film came out I had my student come with me to see the film and she had to pick a way in which this score was different, a way in which Dario Marianelli utilized a non musical item and turned it into a musical instrument, and a way in which the cues were featured in the film. When I can teach a 15 year old about scores by using this one, it is a good day.
Happy listening,
FilmScored
Thursday, October 2, 2008
Exsultate Justi!!
After much consideration, the first score to review is actually one that wasn't listed as one of my favorites by a HUGE error, that was brought to my attention just moments after the blog was posted. The wonderful score is "Empire of the Sun" by John Williams. This film introduced us all to a little Christian Bale but it also introduced us all to a world where John Williams doesn't sound the same. Needless to say that his devotees and critics were not amused by this, but I was.
The score opens with a lovely little Welsh Lullaby, called "Suo Gan" which I have sang on numerous occasions while bored during my college years. It is done with perfection by a boys choir. Everything is crisp but doesn't reek of the John Williams typical melodic lines and chordal progressions.
The piece after that opens, and sounds just like a mellow John Williams piece sounds. It is full of strings then building up to the brass, then surprise surprise he knows how to write in some mallet percussion. Quite the shock there. Listening to this score some 22 years after it is released you can tell where he loving grabbed inspiration for his newer scores from. Star Wars Episode III comes to mind right about now.
The piece, "Jim's New Life", confuses me a bit because it doesn't sound like Williams' work but it works brilliantly. It is one of those pieces when I can clearly scene in my head, which is what the entire point of a film score is. I see a little boy running around on a bike.
The next piece reminds me that this is WAY before the days of actually putting the score in order of appearance in the film. Oh well, it is Williams' attempt at dark but it just ends up sounding like Raiders of the Lost Arc while Indiana Jones is fighting Nazis or in a snake pit.
After that "Imaginary Air Battle" just blows me away, it is like something from a totally different movie. The rich choir complementing the strings in a way that most people haven't heard with Williams. It has a wonderful blend of major and minor chords to complement the melody. It does give the sensation of the inner soundtrack in nearly every child's head while playing "airplane".
"Return to the City" opens with a very dissonant sounding Oboe feature that really sets the entire tone for the scene and the piece. I half to be completely honest with this piece, it doesn't blow me away and it usually gets skipped on my iPod.
Now the next one is breathtaking to say the VERY least. "Liberation: Exsultate Justi" is what made me love this score. I was introduced to it by one of my closest friends and haven't been able to get enough of it since. It is amazing. The choir, snare drum without the snares on, and flute blend together for complete mastery of this amazing recording.
"The British Grenadiers" is traditional in every sense of the word but I have to say that it is one of my favorite versions of the classic British theme. I just picture red coats marching when I hear it. The second half of the piece varies drastically from the beginning. The piano is melodic and wonderful.
One of the other hallmarks of the score is "Toy Planes, Home and Hearth (Chopin Mazurka Opus 17 No4) it has one of my favorite themes from any John Williams score ever. Then to have Chopin's Mazurka within it, makes it one of the classic pieces that need to be on every film score lovers playlist. The recording of Chopin's Mazurka is not one of my personal favorites but it does the piece justice.
"The Streets of Shanghai" is a variation of the theme in the previous piece. It is frantic and very rhythmic in nature so naturally John Williams decides that is when he is going to feature percussion, instead of going off on a limb and actually putting decent percussion in other, non-rhythmic pieces.
"The Pheasant Hunt" is John Williams trying to get an Asian feel while trying to connect it to England as well. Interesting is all I have to say. It is a percussion ensemble to start which is very interesting to see from John Williams. I would love to see him do a piece without the use of strings, woodwinds, or brass, but no he just has to put it in where it isn't needed.
"No Road Home/Seeing The Bomb" is from one of the most memorable scenes from the film. The piece however; not that memorable. I've listened to this score numerous times and can't remember listening to it all the way through, until now. It is very mystical with a very strange little piano breaking through to hold the melody. I like it. It doesn't sound like John Williams. It sounds more like Hans Zimmer or even Howard Shore at this moment.
The last piece is a reprise of "Exsultate Justi" but it is the complete version with all the pomp and circumstance. It is remarkable. I can listen to this piece over and over, never getting bored. I do believe that I have. For all of the John Williams bashing that I put in here, this single piece outweighs it all. It has depth. It is one of those subtle pieces that makes you stop and when you find out that it is John Williams, you have to stop and question it. The call and answer between the choir and brass is amazing. I honestly wish that John Williams would do more of it, he is brilliant at it.
This score and this film for that matter, is for some reason overlooked by a lot of people. It is a typical John Williams and Steven Speilberg duo in every sense of the word but for no reason people just don't remember it. The film is amazing and the score is nothing short of brilliance.
Happy listening and there will be more scores to come,
FilmScored
The score opens with a lovely little Welsh Lullaby, called "Suo Gan" which I have sang on numerous occasions while bored during my college years. It is done with perfection by a boys choir. Everything is crisp but doesn't reek of the John Williams typical melodic lines and chordal progressions.
The piece after that opens, and sounds just like a mellow John Williams piece sounds. It is full of strings then building up to the brass, then surprise surprise he knows how to write in some mallet percussion. Quite the shock there. Listening to this score some 22 years after it is released you can tell where he loving grabbed inspiration for his newer scores from. Star Wars Episode III comes to mind right about now.
The piece, "Jim's New Life", confuses me a bit because it doesn't sound like Williams' work but it works brilliantly. It is one of those pieces when I can clearly scene in my head, which is what the entire point of a film score is. I see a little boy running around on a bike.
The next piece reminds me that this is WAY before the days of actually putting the score in order of appearance in the film. Oh well, it is Williams' attempt at dark but it just ends up sounding like Raiders of the Lost Arc while Indiana Jones is fighting Nazis or in a snake pit.
After that "Imaginary Air Battle" just blows me away, it is like something from a totally different movie. The rich choir complementing the strings in a way that most people haven't heard with Williams. It has a wonderful blend of major and minor chords to complement the melody. It does give the sensation of the inner soundtrack in nearly every child's head while playing "airplane".
"Return to the City" opens with a very dissonant sounding Oboe feature that really sets the entire tone for the scene and the piece. I half to be completely honest with this piece, it doesn't blow me away and it usually gets skipped on my iPod.
Now the next one is breathtaking to say the VERY least. "Liberation: Exsultate Justi" is what made me love this score. I was introduced to it by one of my closest friends and haven't been able to get enough of it since. It is amazing. The choir, snare drum without the snares on, and flute blend together for complete mastery of this amazing recording.
"The British Grenadiers" is traditional in every sense of the word but I have to say that it is one of my favorite versions of the classic British theme. I just picture red coats marching when I hear it. The second half of the piece varies drastically from the beginning. The piano is melodic and wonderful.
One of the other hallmarks of the score is "Toy Planes, Home and Hearth (Chopin Mazurka Opus 17 No4) it has one of my favorite themes from any John Williams score ever. Then to have Chopin's Mazurka within it, makes it one of the classic pieces that need to be on every film score lovers playlist. The recording of Chopin's Mazurka is not one of my personal favorites but it does the piece justice.
"The Streets of Shanghai" is a variation of the theme in the previous piece. It is frantic and very rhythmic in nature so naturally John Williams decides that is when he is going to feature percussion, instead of going off on a limb and actually putting decent percussion in other, non-rhythmic pieces.
"The Pheasant Hunt" is John Williams trying to get an Asian feel while trying to connect it to England as well. Interesting is all I have to say. It is a percussion ensemble to start which is very interesting to see from John Williams. I would love to see him do a piece without the use of strings, woodwinds, or brass, but no he just has to put it in where it isn't needed.
"No Road Home/Seeing The Bomb" is from one of the most memorable scenes from the film. The piece however; not that memorable. I've listened to this score numerous times and can't remember listening to it all the way through, until now. It is very mystical with a very strange little piano breaking through to hold the melody. I like it. It doesn't sound like John Williams. It sounds more like Hans Zimmer or even Howard Shore at this moment.
The last piece is a reprise of "Exsultate Justi" but it is the complete version with all the pomp and circumstance. It is remarkable. I can listen to this piece over and over, never getting bored. I do believe that I have. For all of the John Williams bashing that I put in here, this single piece outweighs it all. It has depth. It is one of those subtle pieces that makes you stop and when you find out that it is John Williams, you have to stop and question it. The call and answer between the choir and brass is amazing. I honestly wish that John Williams would do more of it, he is brilliant at it.
This score and this film for that matter, is for some reason overlooked by a lot of people. It is a typical John Williams and Steven Speilberg duo in every sense of the word but for no reason people just don't remember it. The film is amazing and the score is nothing short of brilliance.
Happy listening and there will be more scores to come,
FilmScored
Tuesday, September 30, 2008
Strike up the Band
Yes, I am finally deciding to put own opinions of film scores on a blog format. Most people usually have these wonderful questions that they constantly ask me when they find out that one of my passions in Film Scores (the other being Dog Shows, yes I am an interesting 21 year old). Those questions usually are:
What is your favorite movie?
What is your favorite score?
Who is your favorite composer?
Do you really prefer to listen to that than pop music?
Well I am going to try and answer those questions right now. It is a bit difficult for me because they aren't easily answered so here I go.
1. My favorite movie is simple, I don't have one, I have many. I usually break them down by genre, country of origin, or mood. So here I go with the classifications:
Action film: The Dark Knight
Drama: Casablanca
Family: Tie between 101 Dalmatians, The Fox and the Hound, and Ratatioulle
Comedy: Kiss Kiss Bang Bang
Thriller: Silence of the Lambs
Horror: Nosferatu
Sci-Fi: Metropolis
Fantasy: Lord of the Rings: Return of the King
Western: Blazing Saddles
Disney: Fox and the Hound
Germany: Mostly Martha
England: Love Actually
France: A Woman is a Woman
Mexico: Y Tu Mama Tambien
Spain: Pan's Labyrinth
Rainy Day Movie: Ever After
Depression: Mostly Martha
Guilty Pleasure: Eastern Promises
Feel Better that I had nothing to do with it: Timeline or Phantom of the Opera (Musical)
Eye Candy: Harry Potter and the Order of the Phoenix (some yummy Rickman in there)
Music Related: August Rush
2. Yet again the film score question always plagues me with confusion because a lot of people just can't understand why I don't have a favorite. I have many. Here they are:
Atonement (Dario Marianelli)
Harry Potter and the Order of the Phoenix (Nicholas Hooper)
Raiders of the Lost Arc (John Williams)
Ever After (George Fenton)
The Lion King (Hans Zimmer)
Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer)
The Dark Knight (Hans Zimmer and James Newton Howard)
Peter Pan (James Newton Howard)
Hannibal (Hans Zimmer)
Hook (John Williams)
3. My favorite composer is usually a stock answer that is given because most people don't even look at the composer when they watch movies. I do, if I like the score I will stay until I know who wrote it. My favorite composer also tends to change with my own tastes as with what work they have done recently. I like composers with a ton of depth, which is really hard to find. I also like composers that don't have the "one hit wonder" thing. So in short I will not be claiming that I love John Williams, Jan A.P. Kaczmarek, or Howard Shore, because then embody the two previously mentioned things. So my favorite composers are: Dario Marianelli, Hans Zimmer, and James Newton Howard
4. Yes I do listen to film scores as my own little genre of music. Pop music just doesn't do it for me on so many levels. The main one is that when you break it down, each and every song is the same as the next. The chords never change, there isn't any depth or talent for that matter. Give me an artist that is really singing, with no modifications on a pop album and I will buy it, I swear. As a matter of fact, if people were to look through my iPod (some have, which has brought up this question) they would find more scores or pieces from scores than pop music. That is not to say that I don't have other genres that I listen to because I do, it is rather hard to find a film score station on the radio in the South, people look at you weird then say "There's music in movies, naw". The genres that I listen to on the radio and have eventually found their way onto my iPod are: country, classic rock, jazz, big band, swing, and a VERY limited selection of pop (mainly Maroon 5 and Clay Aiken).
I know that this is the start of my blog, I will be posting reviews of scores as often as I possibly can. I will be reviewing some of my favorites first then will move on to the Oscar bait ones.
So, I leave you for now, happy listening and viewing.
FilmScored
What is your favorite movie?
What is your favorite score?
Who is your favorite composer?
Do you really prefer to listen to that than pop music?
Well I am going to try and answer those questions right now. It is a bit difficult for me because they aren't easily answered so here I go.
1. My favorite movie is simple, I don't have one, I have many. I usually break them down by genre, country of origin, or mood. So here I go with the classifications:
Action film: The Dark Knight
Drama: Casablanca
Family: Tie between 101 Dalmatians, The Fox and the Hound, and Ratatioulle
Comedy: Kiss Kiss Bang Bang
Thriller: Silence of the Lambs
Horror: Nosferatu
Sci-Fi: Metropolis
Fantasy: Lord of the Rings: Return of the King
Western: Blazing Saddles
Disney: Fox and the Hound
Germany: Mostly Martha
England: Love Actually
France: A Woman is a Woman
Mexico: Y Tu Mama Tambien
Spain: Pan's Labyrinth
Rainy Day Movie: Ever After
Depression: Mostly Martha
Guilty Pleasure: Eastern Promises
Feel Better that I had nothing to do with it: Timeline or Phantom of the Opera (Musical)
Eye Candy: Harry Potter and the Order of the Phoenix (some yummy Rickman in there)
Music Related: August Rush
2. Yet again the film score question always plagues me with confusion because a lot of people just can't understand why I don't have a favorite. I have many. Here they are:
Atonement (Dario Marianelli)
Harry Potter and the Order of the Phoenix (Nicholas Hooper)
Raiders of the Lost Arc (John Williams)
Ever After (George Fenton)
The Lion King (Hans Zimmer)
Pirates of the Caribbean: Dead Man's Chest (Hans Zimmer)
The Dark Knight (Hans Zimmer and James Newton Howard)
Peter Pan (James Newton Howard)
Hannibal (Hans Zimmer)
Hook (John Williams)
3. My favorite composer is usually a stock answer that is given because most people don't even look at the composer when they watch movies. I do, if I like the score I will stay until I know who wrote it. My favorite composer also tends to change with my own tastes as with what work they have done recently. I like composers with a ton of depth, which is really hard to find. I also like composers that don't have the "one hit wonder" thing. So in short I will not be claiming that I love John Williams, Jan A.P. Kaczmarek, or Howard Shore, because then embody the two previously mentioned things. So my favorite composers are: Dario Marianelli, Hans Zimmer, and James Newton Howard
4. Yes I do listen to film scores as my own little genre of music. Pop music just doesn't do it for me on so many levels. The main one is that when you break it down, each and every song is the same as the next. The chords never change, there isn't any depth or talent for that matter. Give me an artist that is really singing, with no modifications on a pop album and I will buy it, I swear. As a matter of fact, if people were to look through my iPod (some have, which has brought up this question) they would find more scores or pieces from scores than pop music. That is not to say that I don't have other genres that I listen to because I do, it is rather hard to find a film score station on the radio in the South, people look at you weird then say "There's music in movies, naw". The genres that I listen to on the radio and have eventually found their way onto my iPod are: country, classic rock, jazz, big band, swing, and a VERY limited selection of pop (mainly Maroon 5 and Clay Aiken).
I know that this is the start of my blog, I will be posting reviews of scores as often as I possibly can. I will be reviewing some of my favorites first then will move on to the Oscar bait ones.
So, I leave you for now, happy listening and viewing.
FilmScored
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