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Posted: |
Sep 5, 2015 - 11:49 AM
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By: |
Washu
(Member)
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Movie reviews are in and they are mostly negative about the score it seems (the quotes below are from numerous movie reviews that mention the score that I have collected):
"From this stage on, the tears flow endlessly. Alexandre Desplat's trademark galloping piano (can we please have one British film without a trilling piano in the score?) rises to crescendo after crescendo but the effect is so manipulative as to become counterproductive."
"Another issue is the ubiquitous Alexandre Desplat’s overbearing piano music that from the start announces that we are about to have our emotions manipulated."
"Aside from saturation use of Alexandre Desplat's lush score, Hooper avoids the lumbering, over-emphatic qualities that made his Les Miserables such a snore."
"Shy at first, like a flower opening, Redmayne ducks his eyes and turns his head as Lili, his confidence growing in tandem with the rolling boil of Alexandre Desplat’s strings and piano score."
"So we're left with a film that may nod to, but then delicately look away from anything that threatens to steer the narrative away from the single note of Finding The Courage To Be Yourself. Within this formula, which involves a great deal of face-cradling and whispering on the part of Redmayne (it's such an externalized performance), the MVP is actually Vikander, although the set and costume designers are probably also clearing space on their mantelpieces, while Alexandre Desplat's score (he also worked on 'The King's Speech') is the Platonic ideal for this kind of film — melancholic and melodic, with occasional hints of fairytale."
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All the nasty reviews of the score actually sound really promising to me.  Since most moron critics loathe any music other than an unnoticeable drone, I'm taking the way all these are worded to simply mean the score is (gasp) present.
I'm VERY hopeful now that this is one of Desplat's more European scores, like PHILOMENA, with (again gasp) themes.
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When the critics dislike the score (which means that they noticed it) that means that we are in for a treat.
Exactly!!
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Posted: |
Sep 5, 2015 - 12:45 PM
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By: |
desplatfan1
(Member)
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When the critics dislike the score (which means that they noticed it) that means that we are in for a treat.
True. Except if it's way over the top or distracting from the story and performances, a score that tries to be like another character in a film needs to be supported. Also, critics didn't liked Desplat's score for Unbroken (which is too underrated given it's Desplat's most thematic score since Rise of the Guardians) for being emotional, when it was mostly subtie, except in a few parts.
I think critics (And modern audiences) are so used to ask what they want in a film, that now they criticize the music for not being like they want, instead of allowing it to feel it, to sumerge them into a movie's world. It's what happened with Monuments Men too, where the music supported perfectly the satire feel of the movie, or in Nightcrawler where the music was supposed to make the audience to feel like they're in Lou Bloom's head, and the music awarded his intentions, even if he was a evil person.
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Download only
Hopefully it'll get nominated like PHILOMENA, also released by Decca, and get a CD after that happens.
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Nice Amazon samples.
I just don't understand why a score by one of the major current film composers gets a download only. Could someone please explain the rationale for that decision?
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