[Closed] Now Playing XVII

I think those two you mentioned don't compare to P.S. I Love You. I really think that back then Powell didn't quite have the knack of scoring a hip kitchy romantic comedy and make it heartfelt and enjoyable (even worse with Forces of Nature, ugh).

But I think with P.S. I Love You, he's finally "got" it. Like it's been said by others, the word "lovely" plain and simple describes the score best. It's not a masterpiece but it's certainly good and flows very well. Better than those other wallpaper ones. Enough to make me actually look forward to more romantic stuff from Powell, not just his usual action forte (though I'd cry for years if he decided to quit the action stuff).

NP: The Water Horse, JNH
This one's gradually seeping in, and getting better every time.

Mad Max

Hm, I dunno for me... Nature, Gigli and Two Weeks all had too many disruptive short tracks of just "rhythmic filler" where the emphasis is put on a little mindless rhythm and no melodic strength whatsoever. I have a real problem with pieces like that.

It's possibly why I have such a problem with Thomas Newman and the bulk of Black Hawk Down. Percussions can't be the sole focus of a piece, for me. I fall asleep.

P.S. I Love You struck me as having much fewer of those moments, and maintained a stronger melodic mood throughout.

NP: Wanted, Elfman
Giving this another shot. Still not "getting it" quite yet.

Oh no! Of course not. I never skip anything that was originally composed for a film. Especially not when it features the man himself singing! It's not entirely my cup of tea (we're a long way from "This is Halloween") but still an interesting curiosity.

I'm in the middle of "Fox's Story" right now, and finding it kinda lovely. But the action material... it's typical Elfman chaos, and it's a long way from Batman Returns...

NP : THE DARK HALF - Christopher Young



I love Young's horror scores, they always have some lyrical-ness / melodies to sink your teeth into.

And not only that, it's a GOOD song too!

NP:The boys from brazil (Goldsmith)

The waltz is great, but The whole score is not my coup of tea.

Next I will play:Medal Of Honor (Giacchino)

after to watch the impressive Star Trek trailer I want some Giacchino.

NP: Troy - Gabriel Yared

Just starting out with "Approach of the Greek". One of the best rejected track ever. Oh, the grandeur, the pathos. Achilles' Destiny is another good track too, with the choir and brass and the strings. GEEBUS!!!

NP: Troy - Gabriel Yared

"D-Day Battle" Good track. The brass melody that started the track is such a great piece.

I can see why some would think so. It's a very traditional, romantic, classically influenced score that doesn't go the melodramatic route. It's lush and sweeping yet not in that massive symphony orchestra style we are use to. It's a chamber piece which highlights solo instruments (harps, piano, oboe) which perfectly transports you to the time of Henry VIII. I also love the scores decent into a deep sadness which is ironically beautiful and exceptionally well done. And the exotic textures are a surprising addition to the orchestral palette.

This is a score that can easily grab a hold of you, wrap it's self around you tightly, digging deep into your emotions and not letting go until the last note is played... but it takes the right environment. Dim the lights, pour yourself a glass of wine, kick up your feet, close your eyes and let the music take over. That might be a bit much but it's score that I think you will appreciate if you give it your full, undivided attention.

I'm actually surprised that I like this so much because it does contain elements that I normally despise... the minimalism in "Henry Is Hurt" and some of the more modern techniques which in other period scores I would poo poo. Now, I haven't seen the film so I'm not sure if these elements are detracting but as an album it plays beautifully and there really a lot here to like. It's a wonderful journey.


-Erik-

Maybe a mix between Shakespeare in Love (an underrated effort - yes it won the Oscar but not a lot of people talk about it and it's very well done) and Perfume: The Story of a Murderer. Add some Desplat minimalism in there for good measure. It's not difficult music or complex by any means. It rather simple but the beauty in the orchestrations is what makes this a winner!

-Erik-

Please don't even mention Perfume in comparison to the Boleyn score. The Perfume score was beautiful in both setting, as score and as music.

Interesting how opinions can be so different. I think the score on it's own without having seen the movie plays on a more subconscious level in the film. It heightens the emotions on screen without beating you over the head. Sure, other scores have done this and I too get bored of those but there is something more in Boleyn. As I made mentioned earlier it's really the orchestrations, instrument choice and orchestral color and tone that plays the significant role in this score. And if you listen carefully themes or motifs are there and develop during the course of the score's running time. I think it's quite beautiful and succeed on it's own as a wonderful score album. Whether or not it's a good score in the film is up i the air until I see the movie... if I ever do.

-Erik-

Would Goldenthal's style fit with Burton though?

Point taken.