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Some of the tracks have also popped up on YouTube.
As for a cue by cue breakdown...good luck. I can't describe this music to save my life but then again most of the work of Cliff Martinez isn't easy to talk on.
I will say this...its a damn shame these tracks were not release with the actual CD because there is a good amount of interesting material and I would rate it with the bonus cues of CASINO ROYALE or TRON LEGACY.
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Hope you don't live in LA Nuts_Score because yesterday at 7:00pm both Refn and Martinez were signing copies at Oragami Vinyl Shop...
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Hope you don't live in LA Nuts_Score because yesterday at 7:00pm both Refn and Martinez were signing copies at Oragami Vinyl Shop...
Actually it is tomorrow (Thursday the 25th) that they will both be signing the vinyl 
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I've not seen the film, but have heard the music and I really enjoyed Cliff's tunes. I'm hearing mixed reviews on the film, though I'll still make sure I see it.
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Posted: |
Aug 17, 2013 - 8:08 AM
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By: |
nuts_score
(Member)
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I've seen this film a total of four times now, thanks to the lovely distribution method of "on demand" for independent and foreign features. Watching this film at home in 1080P on my nice 50" LED with my 5.1 surround was honestly the best route, because during those viewings I've watched it in various states of undress and under the affliction of being drunk, stoned, or a combo of both.
Anyway, I'm having a love affair with it. Many thoughts go through my mind regarding it, the ones that are fresh this morning (as I punch the clock for a Saturday shift at work) is that it all gelled for me during the first viewing when the dedication "For Alejandro Jodorowsky" appeared during that finale karaoke by Vithaya Pansringarm (lip-syncing to the song "You're My Dream" by Proud, a stand-out on the soundtrack album). Of course! It all made sense (if there is sense to be made)! It played lke a fever-dream of David Lynch, Jodorowsky, and Cormac McCarthy vacationing in Thailand, with McCarthy bringing along his brutal Western characters with their shitty lawless attitudes. From there, the film details incredible consequences through morality and metaphor, appearing as a simple (maybe naive) story from the outset but revealing a lot of nuance through its style alone. Visually and aurally, it is one of the finest films I've seen. Story and character however, I can understand why it is so divisive. It was only going to ever be a weirdo cult midnight movie, and that's why the Jodorowsky dedication is strong.
Today, I was struck by the emotion that this is as close as ANYONE has been to re-creating the feeling of watching a Stanley Kubrick film (and OGF owes a lot to The Shining and Eyes Wide Shut). The cinematography (by frequent Kubrick collaborator Larry Smith) is sublime; the mood is an enhanced dream-state where the viewer is never quite sure what is real and what is imagined; the performances are poses, often disconnected from emotional engagement (primarily because these characters are seedy wrong-doers); and Cliff Martinez's score manages to evoke the sounds of Wendy Carlos and Krzysztof Penderecki, adding Lynch-ian influence with the Angelo Badalamenti-inspired love theme for Mei and Julien, and still playing to Martinez's strengths as a composer (as I have already mentioned "Bride of Chang" and "Wanna Fight" earlier as being some of his best work as a musician).
To my eyes, Only God Forgives is an astounding, triumphant movie. But you kind of have to sit there and take it in on a whole different level. To avoid sounding pretentious, I will say that if you do not like Only God Forgives it is not because "you don't get it" or because it is a bad film -- it just simply wasn't made for you. These circumstances occur all of the time. As an example: I simply can't see anything worth of note in Jean-Luc Godard's catalogue aside from Alphaville and Breathless, but that does not discount Godard's work or the attachment others have towards his films, but that simply there is nothing there for me. Easy as pie!
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Posted: |
Aug 17, 2013 - 2:35 PM
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By: |
nuts_score
(Member)
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ScoreKeeper or Lukas, as you both liked the film so much, can either of you explain what the heck was going on in the scenes where Gosling slowly inserted his hand into his lady friend, and later his mother? I assumed both of these acts were symbolic, or perhaps were somehow tied together, but I found them incomprehensible. I enjoyed the film, although I found it nutty and occasionally perplexing, and I thought the score was very cool.
I hope I can attempt to address your query, dogplant, see the spoiler text below...
Ryan Gosling's character of Julien has an engaged, symbiotic attachment to his hands and the film references this in spades (even Martinez's score has a cleverly-titled cue "More Hands"). His hands are his life, and his trouble. His mother refers to them as the reason he fled the United States after he killed his father, and I can only perceive that metaphorically Julien is "attached" to Detective Chang through his hands. In the end, Julien must lose his hands to end the streak of violence brought upon by his despicable brother and mother. But after that sacrifice, Julien is free from that life, and an audience can only assume his future from there. There's Eastern and also "old world" morality playing through the whole of the film, so "an eye for an eye" applies to a symbolic extent.
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