Frost/Nixon
Hans Zimmer
" In general it is a work that downright nails the atmosphere, supporting the quest for the truth. "Written by Thomas Glorieux - Review of the regular release
While most people were looking forward to the big budget movies Mr. Zimmer scored, he himself was looking forward to the most intimate movie he would be offered. The Da Vinci Code re-ignited the passion between director Ron Howard and composer Hans Zimmer, scoring his latest two latest movies; Angels & Demons and Frost/Nixon. The latter is the dramatic retelling of the post-Watergate television interviews between British talk-show host David Frost and former president Richard Nixon. It has already received the top Golden Globe nominations including Best Movie, Best Director and Best Actor. For us musical fans, the most important nomination was for Hans Zimmer's score.
I couldn't begin to imagine what we would receive as musical sound for a movie like this. Ultimately, the result is the interesting change in tone that gives his musical compositions the wit the fans are always looking out for. Frost/Nixon is no exception and stirs up from the very first second a unique palette of musical underscore that is never without wit to keep you interested.
The score is from start to finish an eerie, light suspenseful underscoring partner to the confrontation between host David Frost and former president Richard Nixon. Zimmer understood well what the score needed to function in this battle for the truth. Tense underscore but with the intricacies to keep it interesting. It starts with cello's, piano and eerie strings in "Watergate" and it will end that way in the largely fitting but downright cold suite "First Ideas".
In between all that Zimmer mesmerizes you with tense and suspenseful cues, counter parted with more uplifting fare showing the determination of David Frost to find out the truth. Nixon, by all trying to defend his truth, is all the more tense and eerie, and both counterpart each other well in the score.
It is then also no surprise that the uplifting musical quality is much more enjoyable to hear. The playful attitude with added piano in "Hello, Good Evening and Welcome" and the insanely inspiring "Beverly Hilton" and "Money" (watch out for the John Carpenter ending) are worthy of attention, including the stroke of genius disguised opening in "Insanely Risky" and the thick string work in "Cambodia".
But that doesn't mean the tense struggle of Nixon isn't any less interesting. "Pardon the Phlebitis" starts extremely tense, but then receives a suspenseful and captivating uprise. The emotional quality of the solo cello in "Status" is brilliant, the piano in "Frost Despondent" fitting and Jason Bourne is heard during "Research Montage".
The strength of Frost / Nixon lies in its details. We heard the piano and cello's in "The Final Interview" before, but in "Nixon Defeated" the returning piano theme listens much stronger and determined. The cello's that always elevate the tension aren't so heightened any more. In small details Zimmer shows that President Nixon has been defeated in his goal for controlling the truth.
Though, I always hear National Treasure when the piano is playing, while the cello's bring back memories of The Ring and occasionally The Da Vinci Code. But Frost/Nixon is above anything else another interesting and intriguing work. Zimmer always maintains a level of enjoyability and detail to keep both parties pleased. It is fair to say that he is beyond doubt one of the few composers that can continue to maintain a level of craftsmanship in his music, while affecting us with the enjoyable and the interesting detail of his music. In general it is a work that downright nails the atmosphere, supporting the quest for the truth. It is this quality that scores should be made of.
Tracklisting
1. Watergate (4.25)
2. The Numbers (1.54)
3. Hello, Good Evening and Welcome (1.31)
4. Pardon the Phlebitis (1.45)
5. Status (3.59) Excellent track
6. Beverly Hilton (2.24)
7. Money (2.47) Excellent track
8. Frost Despondent (2.29)
9. Insanely Risky (2.49) Excellent track
10. Cambodia (0.59)
11. Research Montage (3.03)
12. The Final Interview (2.17)
13. Nixon Defeated (2.43)
14. First Ideas (9.55)
Total Length: 43.00
I couldn't begin to imagine what we would receive as musical sound for a movie like this. Ultimately, the result is the interesting change in tone that gives his musical compositions the wit the fans are always looking out for. Frost/Nixon is no exception and stirs up from the very first second a unique palette of musical underscore that is never without wit to keep you interested.
The score is from start to finish an eerie, light suspenseful underscoring partner to the confrontation between host David Frost and former president Richard Nixon. Zimmer understood well what the score needed to function in this battle for the truth. Tense underscore but with the intricacies to keep it interesting. It starts with cello's, piano and eerie strings in "Watergate" and it will end that way in the largely fitting but downright cold suite "First Ideas".
In between all that Zimmer mesmerizes you with tense and suspenseful cues, counter parted with more uplifting fare showing the determination of David Frost to find out the truth. Nixon, by all trying to defend his truth, is all the more tense and eerie, and both counterpart each other well in the score.
It is then also no surprise that the uplifting musical quality is much more enjoyable to hear. The playful attitude with added piano in "Hello, Good Evening and Welcome" and the insanely inspiring "Beverly Hilton" and "Money" (watch out for the John Carpenter ending) are worthy of attention, including the stroke of genius disguised opening in "Insanely Risky" and the thick string work in "Cambodia".
But that doesn't mean the tense struggle of Nixon isn't any less interesting. "Pardon the Phlebitis" starts extremely tense, but then receives a suspenseful and captivating uprise. The emotional quality of the solo cello in "Status" is brilliant, the piano in "Frost Despondent" fitting and Jason Bourne is heard during "Research Montage".
The strength of Frost / Nixon lies in its details. We heard the piano and cello's in "The Final Interview" before, but in "Nixon Defeated" the returning piano theme listens much stronger and determined. The cello's that always elevate the tension aren't so heightened any more. In small details Zimmer shows that President Nixon has been defeated in his goal for controlling the truth.
Though, I always hear National Treasure when the piano is playing, while the cello's bring back memories of The Ring and occasionally The Da Vinci Code. But Frost/Nixon is above anything else another interesting and intriguing work. Zimmer always maintains a level of enjoyability and detail to keep both parties pleased. It is fair to say that he is beyond doubt one of the few composers that can continue to maintain a level of craftsmanship in his music, while affecting us with the enjoyable and the interesting detail of his music. In general it is a work that downright nails the atmosphere, supporting the quest for the truth. It is this quality that scores should be made of.
Tracklisting
1. Watergate (4.25)
2. The Numbers (1.54)
3. Hello, Good Evening and Welcome (1.31)
4. Pardon the Phlebitis (1.45)
5. Status (3.59) Excellent track
6. Beverly Hilton (2.24)
7. Money (2.47) Excellent track
8. Frost Despondent (2.29)
9. Insanely Risky (2.49) Excellent track
10. Cambodia (0.59)
11. Research Montage (3.03)
12. The Final Interview (2.17)
13. Nixon Defeated (2.43)
14. First Ideas (9.55)
Total Length: 43.00