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Posted: |
Apr 18, 2017 - 4:39 PM
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By: |
afn
(Member)
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among his recent releases..does anybody already have Contratiempo? thoughts?
**********POSSIBLE MILD SPOILERS FOR CONTRATIEMPO**********
Impossible coincidence: I just saw CONTRATIEMPO aka THE INVISIBLE GUEST and came looking here to see if somebody was already talking about it!!
FIRST: The film is fabulous, a dark thriller with twists upon twists (believe me!), a story about guilt, self-preservation, love and revenge (or is it justice?) which I won't spoil here in any way - WATCH IT N O W, ASAP!!
SECOND: The music would make Bernard Herrmann (at least a little bit) proud, it's dark, string-laden, yes, Herrmannesque, if you want to call it that. Have yet to listen to the score by itself (as I said, I just finished the film), but Senor Velasquez is definitely a glimmer of hope in a rather (IMHO) barren film music world of 2017...
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Posted: |
Apr 28, 2017 - 7:59 AM
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By: |
mastadge
(Member)
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I'm enjoying this -- big Velázquez fan -- but like a number of his scores, while it's pleasant and effective, it's not very earwormy, not very memorable. There are a few standout cues like the last few cues, from "Hallazgos macabros" on, but nothing on the levels of The Impossible theme, Allerdale Hall, that one marchy theme from Zipi y Zape, etc. El guardián invisible is a step up from Contratiempo, but I guess at this point I prefer Velázquez in melodrama/fantasy mode rather than thriller mode.
Also, this film is from the director of Palmeras en la nieve, and if you haven't heard its score, Lucas Vidal did a very nice job there.
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I like the score but it leaves me a bit cold unfortunately. Especially the album’s beginning consists mostly of slowly moving underscore that probably works better within the film than by itself. Exception is track 5 which introduces the score’s secondary theme that reminds me of string writing of Vaughan Williams and quieter moments from James Horner’s Sneakers. It also has intimate performances of the film’s main theme. The occasional action music has rather unique sounds of rhythmical woodwinds and Basque percussion instrument txalaparta.
The things start to get interesting from track 10 onwards. It’s the score’s most chilling cue by far, including the whispering chorus and slowly intensifying atmosphere that explodes to a full performance of the secondary theme for brass. Track 12 on the other hand offers the most emotional performance of the main theme for full string section. Eventually it too turns back to darkness before changing to heavenly choral voices of track 13. Tracks 14 and 15 offer great suspenseful and action-oriented moments and several performances of the main themes. They’re a great contrast to the finale cue which is more hopeful and serene in tone.
Another solid effort from Velázquez, but the album is too long and would profit from some trimming.
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