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Quint from aintitcool.com has seen the film and said the following about Beltrami's score:
"No review of this film, no heaping of praise, is complete without mentioning Marco Beltrami’s score. I’ve honestly never really been a big fan of his music. I think my favorite scores he’s done were on SCREAM and HELLBOY, but most of the time I don’t really dig on his music, but damn. He knocked it out of the park here. It’s not comically western, but it’s so western through and through. It could be over the top if it wasn’t so damn good."
http://www.aintitcool.com/node/33721
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No word on a release yet but I expect an album to come from varese. If that will be the case, the announcement could be very close. I hope this one will get a release!
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Posted: |
Aug 20, 2007 - 4:15 PM
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By: |
theOzman
(Member)
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Heard the score a while back and thought that it's sound has more in common with Ennio Morricone's spaghetti westerns, with some early Goldsmith touches thrown in, to sounding anything like original Beltrami. Though it's nothing groundbreaking, it is quite good, has Beltrami's modern sounding take on things, mostly somber in tone, slow building and sweeping string sections, blaring trumpets lots of strumming spanish and acoustic guitar, drones and percussion effects, but very much lacking a well developed central theme, though there is one. One stand out cue, titled "Bible Study," is a nicely building and exciting piece with strings, percussion, guitar and trumpet, that has an incredible sense of gallop to it, almost like a dizzying dance for horses. Another cue is very deliberately playful and features jews harp, banjo and whistling, ala Morricone style.
Again, not a real breakout score, but with all it's nods to western's greats, the composer obviously respects where good film music comes from. Beltrami is building a nice resume and this one will just prove that he is a composer to keep a watch for and listening to.
~ Oz
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Remakes or otherwise, one thing that is saddle-sorely lacking in recent westerns is great horsemanship. One of the wonderful things about vintage westerns is the incredible riding that goes on. It's especially fun to watch some of the B westerns where the second tier players do their own (often VERY fast) riding. Most of the westerns made in recent years are just sloppy, muddy, scruffy affairs with actors wearing big muddy chaps.
As for 3:10 TO YUMA, I'll take Heflin, Ford and Dunning any day of the week. Oh, yeah, and Frankie Laine!
Amen! I'm dusting off my 3:10 DVD for another screening, and that's as close as I'm getting to the remake. Heflin was good, Ford was great and the score was damn fine just the way ol' George penned it. Who needs another remake? How about something original for Crowe and Bale, and let a great old film rest in peace?
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I understand a soundtrack has been released on iTunes two days ago. Does anyone know if Lion's Gate is also putting out a compact disc release of 3:10 To Yuma?
Lionsgate has been one of the companies, like Fox and Disney, doing a lot of download-only releases, so I'm skeptical whether they'll bother to put out a CD (even though it's possibly their highest profile film yet).
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Posted: |
Sep 7, 2007 - 11:34 PM
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By: |
joan hue
(Member)
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While I did see some flaws in this movie, overall, I was VERY
impressed. Great cinematography and gorgeous wide-open spaces.
If you want to see this movie, see it on a big screen in a theater.
The acting is superb. Crowe makes a fine villain. Some of the
minor characters are fleshed out enough that you care about them.
I especially enjoyed the return of Peter Fonda. Ben Foster will
soon earn the moniker of the world's best psychopath. I think he
is becoming a caricature of himself. The most amazing performance,
Oscar worthy, comes from Christian Bale. He just keeps growing as
an excellent actor. The geometry of his face is all carved planes of
personal pain.
The movie has a bang-up opening and a rousing finale, but mainly it
is a character-driven movie. If you are only into relentless action, you
may find this movie rather slow. I loved watching the actors reveal
new layers of themselves. I thought the themes of varying degrees of
good and evil, personal redemption, and the discovery of courage in
the face of hopelessness, were well-developed. There are surprises
in this movie that are different from the original movie.
I have to respectfully kind of disagree with Cinemel1 about the music.
I didn't hear 60's expansive music. Ain't It Cool News kept mentioning
a rousing western score. Where? Some Morriconeish twangy guitars
with a tossed in trumpet isn't all that rousing for me. If you want to really
hear the two main themes which are IMHO just okay, stay for the
end credits. To me the movie used a minimalist approach in the scoring.
I, of course, wanted the rousing approach of an Alfred Newman, Goldsmith,
Moross, Bernstein, Morricone, or for a current update, a Broughton or
JN Howard.
Still, the movie emotionally resonated with me, and I hope it will
resurrect the western genre in Hollywood.
"The western in its glory days was often a morality play, a story about
humanist values penetrating the lawless anarchy of the frontier."
From Roger Ebert
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Posted: |
Sep 7, 2007 - 11:40 PM
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By: |
JSWalsh
(Member)
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Howdy, lil' lady!
(It's coming, trust me, it's coming, though I know you didn't ask...)
I'm interested in this movie because of the source material, and I'm always curious about the prevailing tone in westerns. Dances with Wolves, for example, was a throwback, despite its PC attitudes, to the oldies, while Unforgiven was a pretty hard-edged almost 70's take on the genre, bypassing Leone and Peckinpah's approaches (Sam Raimi and Walter Hill tried those and failed).
Mangold directed one of my fave indie flicks of the 90's, Heavy, and I'm open to what he does with this, but when you've got an Elmore Leonard story as the source material, you're already off to a great start.
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