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[Closed] Now Playing XLIX

General Discussions » Now Playing XLIX (Posts 2701 to 2730 of 4548)

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    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016
    NP: LOST FOR WORDS (Andre Matthias)

    A beautiful score from 2013, a great example of the post-minimalist, romantic scores exemplified by composers such as Marianelli, Korzeniowski etc. I only have this and Matthias' captivating THE LIGHT THIEF, but he's surely a composer to follow.
    I am extremely serious.
  2. Thor wrote
    FalkirkBairn wrote
    NP: The Birth of A Nation - Joseph Carl Breil

    An interesting mix of Breil's original score, classical pieces & tunes from era.


    Have you seen the film?


    Not this one. The 1915 controversial silent one I have.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016 edited
    Captain Future wrote
    Thor wrote
    FalkirkBairn wrote
    NP: The Birth of A Nation - Joseph Carl Breil

    An interesting mix of Breil's original score, classical pieces & tunes from era.


    Have you seen the film?


    Not this one. The 1915 controversial silent one I have.


    I'm confused. Is there another version with Breil's music?
    I am extremely serious.
  4. Thor wrote
    FalkirkBairn wrote
    NP: The Birth of A Nation - Joseph Carl Breil

    An interesting mix of Breil's original score, classical pieces & tunes from era.


    Have you seen the film?

    No. But I have read up about it and the controversies that it has raised.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  5. Nope. But the 2016 film was ironically named after a completely different silent film from 1915. It is regarded a cinematic masterpiece and a milestone of US cinema but is at the same time seen as being (naively or not) racist. It might have inspired the rise of the second Ku Klux Klan.
    Much like Leni Riefenstahl's "Triumph des Willens".
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016
    Yeah, I've obviously seen the film (obligatory viewing when I studied film 15 years ago), but was just curious if you guys had seen it. It's not only a milestone of US cinema, but world cinema. I wasn't aware of a 2016 version, however.
    I am extremely serious.
  7. I see. The Misunderstanding was on my part then. I thought we were talking the 2016 film all along. smile
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016 edited
    NP: 30 DEGREES IN FEBRUARY (Andreas Söderström & Johan Berthling)

    Affectionate score with loads of ethnic instrumentation for this fine, Swedish series about a group of Swedes trying to make ends meet in Thailand. 70 minutes is a bit too much for this kind of music, though, 40 minutes would have sufficed.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeAug 13th 2016
    Captain Future wrote
    Nope. But the 2016 film was ironically named after a completely different silent film from 1915. It is regarded a cinematic masterpiece and a milestone of US cinema but is at the same time seen as being (naively or not) racist. It might have inspired the rise of the second Ku Klux Klan.


    There's nothing naive about it: C.B. DeMille was very much a product of his time, and the way the Klan was portrayed "noble knights" defending the fledgling republic from "negro corruption" was exceedingly deliberate.
    I greatly admire the film's craft, but its message is a disgusting one, even taking into account the time it was shot in.
    I approach DeMille in the way I approach Wagner: I marvel and wonder at their work, while I loathe and detest their politics.

    I really think Riefenstahl on the contrary was honestly trying to create/capture anaesthetic vision.
    Much has been made of the fact that she should have known that her work would be seen and used as propaganda. Based on interviews I saw with her at a much later date I honestly think she didn't even care: she was really just trying to create a work of art.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016
    I think you may be confusing Cecil B. DeMille with D.W. Griffith, Martijn. But DeMille did indeed start making movies around the time the film came out.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 13th 2016
    Thor wrote
    NP: 30 DEGREES IN FEBRUARY (Andreas Söderström & Johan Berthling)

    Affectionate score with loads of ethnic instrumentation for this fine, Swedish series about a group of Swedes trying to make ends meet in Thailand. 70 minutes is a bit too much for this kind of music, though, 40 minutes would have sufficed.


    I've not actually got the album but loved the music in the show, which I greatly enjoyed. I know there has been a second season but it doesn't look like it's going to be shown in the UK unfortunately.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016 edited
    Yeah, the show seems dead in the water -- much like another brilliant Swedish series, ÄKTA MÄNNISKOR, which was also cancelled after two seasons. In that case, largely due to the fact that Americans were doing a remake. I don't think the Americans are doing a remake show for 30; it depicts a rather Scandinavian/Western European phenomenon.
    I am extremely serious.
  13. Martijn wrote
    Captain Future wrote
    Nope. But the 2016 film was ironically named after a completely different silent film from 1915. It is regarded a cinematic masterpiece and a milestone of US cinema but is at the same time seen as being (naively or not) racist. It might have inspired the rise of the second Ku Klux Klan.


    There's nothing naive about it: C.B. DeMille was very much a product of his time, and the way the Klan was portrayed "noble knights" defending the fledgling republic from "negro corruption" was exceedingly deliberate.
    I greatly admire the film's craft, but its message is a disgusting one, even taking into account the time it was shot in.
    I approach DeMille in the way I approach Wagner: I marvel and wonder at their work, while I loathe and detest their politics.

    I really think Riefenstahl on the contrary was honestly trying to create/capture anaesthetic vision.
    Much has been made of the fact that she should have known that her work would be seen and used as propaganda. Based on interviews I saw with her at a much later date I honestly think she didn't even care: she was really just trying to create a work of art.


    I would concede that with regard to her film "Olympia" (which I own on DVD). "Triumph des Willens" is another thing altogether. The NSDAP party convention that the film glorifies took place in September 1934 when 8 month of murderous terror had already swept over Germany. There was no way to be indifferent towards that "National Revolution".
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016
    After I spoke to Giorgio Moroder about his score for Riefenstahl's last movie, the underwater documentary IMPRESSIONEN UNTER WASSER (2002), I've always wanted to see that. I've only seen bits and pieces of her earlier films, including the classics.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeAug 13th 2016
    NP: BAZTAN (Angel Illaramendi)

    Illaremendi is almost on Delerue level when it comes to bittersweet melodies, and rather grating when it comes to suspense. Fortunately, this contains most of the former.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeAug 13th 2016
    Thor wrote
    I think you may be confusing Cecil B. DeMille with D.W. Griffith, Martijn. But DeMille did indeed start making movies around the time the film came out.


    Urgh. Of course D.W. Griffith.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeAug 14th 2016
    NP: GOLD COAST (Angelo Badalamenti et.al.)

    I've been feeling rather depressed this weekend, and this melancholic score -- one of the very best last year -- is the perfect way to end the day.
    I am extremely serious.
  18. NP: Häxan - Barði Jóhannsson

    As a standalone listen, this 2006 score for the 1922 Swedish-Danish silent film is an excellent listen. Fully orchestral and very dramatic, I am not sure how it would fit in the film though. Although several scores have been composed for this film, and DVD releases of the movie feature several of the composed scores as extra features, I don't think Jóhannsson's score has received the same treatment. Possibly because this piece is more a symphony based on the film.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  19. Thor wrote
    NP: GOLD COAST (Angelo Badalamenti et.al.)

    I've been feeling rather depressed this weekend, and this melancholic score -- one of the very best last year -- is the perfect way to end the day.


    Sorry to hear you're low, Thor. May fanfares greet your tomorrow.
  20. That's just bum him out more! wink
    •  
      CommentAuthorThor
    • CommentTimeAug 14th 2016
    Thanks, Jim. Fanfares are fine, but I find that when you're in a funky mood, sad music does the trick. Minus plus minus equals plus.
    I am extremely serious.
  22. I believe minus multiplied by minus equals plus. wink

    NP: Jupiter Ascending (2015) - Michael Giacchino

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorLSH
    • CommentTimeAug 14th 2016 edited
    NP: INDEPENDENTS' DAY - Mike Verta

    The shockingly titled Asylum film that Verta scored for his girlfriend director. Made completely from samples and scored in seven days. Pretty impressive too.
    •  
      CommentAuthorThor
    • CommentTimeAug 14th 2016
    NP: AMERICAN HISTORY X (Anne Dudley)

    Big score that lifts this very urban tale into the sphere of pure mythology!
    I am extremely serious.
    •  
      CommentAuthorLSH
    • CommentTimeAug 14th 2016
    NP: LINCOLN - John Williams

    Only my second listen (after the initial release). My god, this is my kind of music. Warm, thought-provoking Americana film scoring, from the guy who does it best.

    cool
    •  
      CommentAuthorThor
    • CommentTimeAug 15th 2016
    NP: THE GIRL KING (Anssi Tikanmäki)

    Wonderful score -- a cross between baroque, Georges Delerue and more contemporary tropes. Too bad a soundtrack was never released for this 2015 movie.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeAug 15th 2016
    The Light Between Oceans - Alexandre Desplat

    Was never likely that a film with a title like this wouldn't get a beautiful score when the composer's Desplat, and this really is. The grown-up, unfiltered Desplat here. Very good indeed.
    http://www.movie-wave.net | http://facebook.com/moviewave
    • CommentAuthorTimmer
    • CommentTimeAug 16th 2016
    NP : YELLOWSTONE - Edmund Butt



    Superb!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeAug 16th 2016 edited
    NP: THE EAGLE (Atli Örvarsson)

    Has some obligatory GLADIATOR references, but very well done. Plus the whole Gaelic thing. I like it.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeAug 16th 2016
    NP: WILD ARABIA (Chief Inspector Barnaby)

    Dig this. Free of action (mostly) and just moving around with soft textures, melodies and ethnicity.
    I am extremely serious.

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