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I'm not allowing myself to hear any of the score yet so that it will be completely fresh to my ears when I see "Budapest" for the first time a week and a half from now.
Love this Matt Zoller Seitz description of the film: “Imagine the first 10 minutes of Raising Arizona, except it’s two hours long and it’s set in Eastern Europe.”
Hurry up, 7 March!
Wow, that's an awesome description!
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Hurry up, 14 March, is what I should have said above. That's when it opens here in Seattle. I watched all of WA's films this winter, and now I'm rarin' to go with this new one!
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Be sure to stay for the entire end credits. Not only will Desplat's music with its rhythmic flourishes and whistling inspire you to dance on your seat, but there's a goofy bit of animation in the corner of the screen which had the audience members who were sticking around in hysterics.
Already with this and "The Monuments Men" Desplat is well in the lead as composer of the year.
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Entertainment Weekly gave the film an A+ review and mentioned the music!
It's actually an A- review, in case you don't want to click over to discover for yourself.
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I saw this quirky film the other night in a packed theater and it left me smiling ear to ear. The wacky score had great presence and fit it perfectly, though after listening to the album I'm not sure it's something I can really recommend as a stand-alone listen. I am rather pleased that Mr. Desplat gave us all ten glorious seconds of "Check Point 19 Criminal Internment Camp Overture" on the playlist-- this is the sort of track we used to have to wait for the Deluxe Edition twenty years later.
Nice engineering by Simon Rhodes. The album is amusingly being offered with 24bit depth at HDTracks, although like most albums these days it has the dynamic range of an Edison Cylinder.
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For anyone interested, my review of the film and score is up at Movie Music Musings. As always, I'm very interested in your thoughts:
http://moviemusicmusings.wordpress.com/2014/04/15/grand-budapest-hotel-film-and-score-review/
Paul
I saw this film on opening night and then again a few days later. I loved it! (and I think it's best). I do love all of his films, though--but there's something about this one which seems to have notched up above the rest. (And I haven't quite put my finger on why just yet, but, your review had some good insights....)
Your review of the score is spot-on. I thought much the same about Desplat's first two collaborations with Anderson (he could have got the same from Mothersbaugh, which isn't to say that I didn't enjoy Desplat's musical contributions--they were good). But after listening to the score 50+ times now, I completely agree that Desplat finally had something a little more to stretch out with in Anderson's universe. My favorite cues (today, at least) are "The Cold-Blooded Murder of...," "Canto at Gablemeister's Peak," and "Cleared of All Charges." The wild organ bits are amazing! I really just love how it all seems to effortlessly ho-hum along!
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50 times? I'm surprised that, for as much as I listen to music, I rarely hit 50 plays of anything.
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I love the film and its music. It's really quite delightful, all the moreso because in the end, it's got stakes. Long live the strange blend of Tati and screwball that Wes Anderson brings to the screen.
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