I just saw this with Clint Eastwood in attendance. Despite the fact it has many powerful moments it doesn't quite capture much of what Eastwood says he had in mind. I've been an admirer of Eastwood in his directorial spins of late but not of his one handed piano scores. One approach fits all for him. But even he has realized the limitations of his approach and has reached out to fill in his gaps with African music in INVICTUS or classical pieces in HEREAFTER. SNIPER is one that really feels wanting of a real score and his pulling a Morricone cue for the funeral shows how he needed the help. I am getting old and thought this cue was from THE RETURN OF RINGO but it doesn't seem to be. Anybody recognize it? That is, when it comes out please chime in.
Actually thinking about it I CRUDELI (THE HELLBENDERS) comes to mind.
I kind of liked the film, although with all films of this type, it simply becomes the same scene over and over again. I, too, thought it could have used a real score. I think the Morricone cue was from one of his other American scores like Casualties of War or In the Line of Fire? If not those, then something like those.
Thanks Haineshisway but it isn't those two (at least not on the released CDs). But I think I did find it as the last cut of THE HELLBENDERS (I CRUDELI) ironically this theme was already once used (in a different version) by Tarantino in DJANGO UNCHAINED. Morricone has much to be mined.
My problem with the film, amongst other things, is the incidents portrayed show only the times he did the correct thing. An extraordinary fellow with 160 kills, his instincts must have been incredible but it goes without saying he couldn't have always been right and yet it comes across like he was. For this to feel more real we need to feel what he felt and how he made those instant assessments amidst more chaos and uncertainty. And producer/actor Bradley Cooper brings the commitment and precision of the character to the fore but I thought he might give us more insight into all that makes him tick (particularly when he is stateside). IMHO
But even he has realized the limitations of his approach and has reached out to fill in his gaps with African music in INVICTUS or classical pieces in HEREAFTER
Invictus was actually written by Eastwood's son, Kyle, with Michael Stevens. I always thought that Eastwood's films never required too much music, just some cues written fo scenes that require a little more extra. Although Eastwood brought something different with his score for Mystic River.
