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I'm enjoying the songs away from the film. If you listen to the songs away from the film just as they own, I like the positive vibe they give especially This Is Me. Such a great anthem to be used in so many different ways right now especially what is going on in Hollywood with all the sexual nonsense and women finally being able to be heard. Well done by these two lyricists 
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I agree with CinemaScope Cat. The producers missed the boat with this one. The setting called for period music, and we got this 21st century "American Idol" music. Totally non appropriate. I regretted sitting through this one.
Period music...you mean like music out of the 1850's? Hmmm, I'm sure the audiences would have come out in droves for that. Someone tell Lin-Manuel Miranda he got Hamilton all wrong. Maybe that'll fix that flop.
Musicals, no matter what the setting, generally reflect the era in which they were made because you have to attract the people alive at the time. Les Miserables didn't have period music either. Nor did Phantom of the Opera. Did the story of P.T. Barnum need power ballads? Possibly not, but the songs are generally pretty great. I do my cardio workout to the soundtrack album and a half hour goes by effortlessly.
You can hate the movie and music all you like, but using a lack of period music as a fault isn't a valid criticism, in my opinion.
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Could anyone tell me the amount of score there is in the film? The soundtrack has no score on it it, just songs, but John Debney has been posting how great the film is, but will there be a score album?
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Posted: |
Jan 22, 2018 - 6:59 PM
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By: |
Howard L
(Member)
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Hey joan, this is in today's (print) NY Times and between your post and comments in this article I'll just have to give this one a lookseelisten:
‘Greatest Showman’ Becomes a Sleeper Hit as Disrespected Films Flourish
By BROOKS BARNES
Talk about a death-defying stunt.
“The Greatest Showman,” a musical about the circus impresario P.T. Barnum, was dismissed by many critics when it arrived in theaters just before Christmas. Uncool. Old-fashioned. Mawkish. And when initial ticket sales were poor, most box office analysts decided “The Greatest Showman” was a prime example of Hollywood being unable to pry people away from their Netflix accounts. Better stick to the superheroes and sequels.
Over the past four weeks, however, “The Greatest Showman” (20th Century Fox) has become a rare sleeper hit, lifted by positive word of mouth, stunt marketing (singalong screenings) and a popular soundtrack album. Ticket sales in the United States and Canada now stand at $113.5 million, including an $11 million haul between Friday and Sunday, good for fifth place over the weekend. The movie stars Hugh Jackman and Zendaya and was produced by a team that included Peter Chernin and Laurence Mark.
https://www.nytimes.com/2018/01/21/movies/greatest-showman-jumanji-box-office-results.html
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It was mentioned in another thread, but I thought I should mention here that John Debney posted a 7:30 suite from THE GREATEST SHOWMAN on his management page, here:
http://kraft-engel.com/clients/john-debney/
I believe he mentioned on social media that a score album was in the works. I certainly hope so.
Also, instrumental (karaoke) versions of the songs are now available in the iTunes store and I assume other digital platforms.
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With all due respect, I must disagree with you. It was the single worst movie going experience for me in 2017 (with the possible exception of the horrific Murder On The Orient Express). I'm a pushover for musicals and very forgiving and bend over backwards. That being said, there's only one word for this film ..... dreadful! If you thought Baz Luhrmann's Moulin Rouge! was the epitome of the film musical, I suppose you might find something to admire in this abomination. I could easily forgive its trite narrative if the musical numbers were good but every song in the movie is an anachronistic (the film takes place in the 19th century) pop power ballad and not good ones either. I began to feel like I was trapped at auditions for American Idol. I won't even go in the calisthenics masquerading as choreography! When Barnum brings the legendary Swedish opera singer Jenny Lind (Rebecca Ferguson) to make her New York debut, does she sing an operatic aria? Of course not, she hammers us over the head with yet another big power ballad in a non operatic singing voice (Loren Allred dubs Ferguson). The only one who doesn't get a big power ballad is an undubbed Michelle Williams as Mrs. Barnum and I su[pect it's because she can't hit the high notes. There's not a moment in this big bombastic elephant that equals the simplicity and grace of Ryan Gosling quietly singing City Of Stars on the pier in La La Land. The director Michael Gracey, no surprise here, comes from the world of music videos.
This says it all. I kept thinking of the superior numbers from Cy Coleman's BARNUM while watching this - and wishing that musical had instead been adapted.
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The unforgivable mistake the producers made for THE GREATEST SHOWMAN is using today's pop music in the turn of the century setting. This gross miscalculation was the spelling of doom. If the pop music of the period had been utilized, it might have been one of the best pictures of the year. It absolutely fell flat because of this situation. My humble opinion anyway.
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If the pop music of the period had been utilized, it might have been one of the best pictures of the year.
The pop music of the 1850s? Like Stephen Foster?
Also loving the Debney suite.
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Posted: |
Jul 15, 2018 - 8:08 PM
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By: |
Howard L
(Member)
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Many moons ago I saw Pippin on the Broadway stage and halfway through if not earlier was in shellshock. Whatever passed for a book had elements that took place in the Middle Ages. The Middle Ages. With Fosse choreography. Fosse choreography. The WEIRD kind of Fosse. In the Middle Ages. With plenty of throwaway songs. Oh and the "emcee" or whatever he was was definitely not out of the Middle Ages either.
Hey Teach, this all came to mind last night within the first few minutes or so of my maiden TGS viewing. I went in expecting nothing and sure enough before long was wondering how long I'd last. Well, damn me and that Fosse flashback but I got sucked in, stayed for the whole thing and LOVED it! 
Most of the lyrics are very powerful and totally related to the narrative...I enjoyed the choreography and sets. There was so much going on during certain numbers that I will need to see this movie again just to notice more details.
Absobloominlutely. This was a musical of defiance...with optimism. Defiant optimism?! Strange union. I don't know how else to put it. Not a memorable song in the score but the marriage between narrative and lyrics was indeed a powerful union. Is this Hamiltonesque?
The setting called for period music, and we got this 21st century "American Idol" music. Totally non appropriate.
Maybe it depends upon the degree of quirkiness...Maybe it is about degrees, I guess.
Irv's quote ("non appropriate") linked with your business about "degrees" of quirkiness resonate big time per Pippin reference. Wow.
And don't get me wrong - I'm very old school and love the great musicals. This was not that.
Two of this 'board's old fogies of the old school who love the great musicals are defending TGS vs. young fogies. It's a parallel universe. Where's the Tantalus Field!
Period music...you mean like music out of the 1850's? Hmmm, I'm sure the audiences would have come out in droves for that. Someone tell Lin-Manuel Miranda he got Hamilton all wrong. Maybe that'll fix that flop.
Oops, looks like SM(O) and HL, you know, great minds, etc.?
Interesting - in general, is this reinventing of the Hollywood musical of old working or not?
Joan, my folks went to see MR on release, and the constantly whirring camera moves and brain hammering made them walk out of the movie. I myself have never bothered to see it, although I have seen The Great Gatsby, and agree it is analogous to the above-mentioned clash in styles.
Another mind-reader. Great question, Grecchus. And what is it nowadays with the nervous camera act. Enough already! Obviously bothered me. And don't think that Gatsby monstrosity didn't come to mind. Was not about to bring that up and give Phelps anymore anti-HL ammunition than he's already received. Anyway, it must come down to the personal degree of quirkiness thing again.
As historically correct as it might be...
...Dramatically, THE GREATEST SHOWMAN has nothing new to offer in its rags-to-riches story-line...
Another great mind (as usual) with his customary great reply. Me, I like this movie but it's kinda perverse. The feeling, that is.
Eh. GOOD! 
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