Knieper's music for the film is exquisitely attuned to the film's
atmosphere, from the sad violas of Die
Alte Mercedes, to the grand, ethereal Urstromtal and Die Kathedrale der Bücher.
There is also some powerful late 80's Euro-grunge from Nick Cave, and
good music (both raucous and subtle) from other groups and composers.
achieves what few composers in any medium have done: fuse a stunning
variety of forms (ranging from symphonic to jazz to thirties pop),
stuff them with allusions (everything from Maurice Ravel to Woody
Woodpecker) - and make the final result as gloriously, giddily romantic
as it is heartbreaking." -- Steven C Smith
song "Brazil" is a remarkably inspired choice as the theme music of the
film, which is
a bit like 1984 presented as a very black comedy (with fantastic music
and visuals.) The words to
the song are banal and heartbreaking at the same time... a sense of
irretrievable loss, combined with a tinny and false, yet
half-convincing, promise that all will be set right one day (which, of
course, captures rather well the atmosphere of the sad dystopia
portrayed in the film.) This
latter aspect of the song (which is first presented with orchestral
and Kate Bush's
rich vocalizations), is punctured by Geoff Muldaur's funky,
sarcastic rendition later in the film.
Leaving aside for a moment the utter brilliance of the rich and varied
score, I think there are few films that offer a more exquisitely
packaging of story, characters, visuals and music.
found the film so-so, but Hans Zimmer's
slow, melancholy orchestral score is beautiful and heartbreaking,
and feels a bit like a brief glimpse of the eternal. I
think the score stands on its own rather well.
|A Beautiful Mind
has done an outstanding job of incorporating principles of the Minimalist
into a score both beautiful and accessible. Minimalism, with its
New England associations, was a cleverly chosen musical theme for this
film, which is set in the ivied environs of Princeton University.
that the album as a whole tends to repeat its themes a great deal (and
in this way is not dissimilar to some collections of Minimalist music)
but this should not in any way discourage the listener. Some very
fine music from Mr Horner.
rich, powerful and characteristically quirky score from Danny
Mr Elfman draws from many musical sources to provide a colorful and
well-integrated musical package. The discordant violin from Danse
Macabre is here, along with echoes of classic suspense scores from the
30's and 40's, topped off by some brilliant application of (cleverly
twisted) chord sequences normally used by skilled organ composers to
awe churchgoers. The mind-blowing The Incantation (where the
Maitlands are resurrected) is undoubtedly my favorite track.
soundtrack is rather low-key compared to the visual impact of the film,
but is highly atmospheric and occasionally stunningly brilliant. Five Millennia Later and Lucia Di Lammermoor are among my
favorites, along with the soft vocal track Little Light of Love, containing
the warmly clever words"the Pharos of my soul".
theme repeats a bit, but that is a characteristic to be expected of
music that has a point to make and relentlessly carries through.
The image of mankind steadily and magnificently moving forward and
upward over the millennia, only to become (still in its magnificence) a
victim of its own success as pollution and overcrowding close in, is
brilliantly maintained throughout Philip Glass's score.
of James Horner's
more admirable offerings. I've found that Mr Horner's Trek themes
appeal even to those who've never seen the Star Trek films (or who may
not have much tolerance for Star Trek in general.) Sadly (to my
mind) Horner scored only two of the Trek films (II and III); his themes
are developed more fully in this soundtrack; warmer, deeper and more
melancholy, with slightly more power to awe. There are some
rather nice visuals in this film, which go well with the music.
Of the many Trek films, I think this may be my favorite, to a great
extent because of the music and visuals (though Uhura's sassy "this is
not reality, this is fantasy" scene has its own appeal.) The
nautical feel of the main theme (used in both II and III) is also
something I find appealing, and missed a bit in the later film scores.
|Return of the
musical themes developed by Howard Shore
come to completion and full fruition in this third installment of Lord
of the Rings, particularly those for the Rohirrim (that wistful violin)
and for Gondor, most movingly and dramatically executed in The White Tree, as the beacons are
set alight across the mountains
(though this is preceded by a blustery shifting-minor-keys buildup that
seems a deliberate spoof of Perils-of-Pauline type suspense
themes.) Much of this album is what some might term standard
movie fare, but there is high-quality themework throughout, and
many brilliant passages. Another favorite of mine is The
Gate Opens (the brave, hopeful notes of James
Galway's flute), and of course the closing music, Into the West, sung by Annie Lennox.
order to fully appreciate Tom Tykwer's
music for this film, I think the film needs to be experienced along
with the music. Having said that, much of the music, particularly
the ethereal yet powerful and
primal I Wish I were a Huntress
stands quite well on its own.
film didn't grab me to quite the extent of some other Wim Wenders
films, though I really enjoyed seeing so much of Lisbon. The
guitar and vocal music by Madredeus
(who appear in the film) stands completely on its own; I had been
listening to the album for years before I ever saw the film. I
think you will not be disapppointed with any acoustic album from
|More to come, possibly...