Honestly, Thor, I don't mean this to be a insult, but by now you of all people should know you travel is different eccentric circles than most score fans. Your question is therefore pointless.
I'm flabbergasted by all these positive comments about the music. What are you guys hearing here that I don't? I even tried twice before I deleted it.
I didn't much like the Main Title before I heard the version in "Finally Got It Right" (which starts with the great B theme). I don't see how you don't like it! It's like Silvestri parachuted into 1995, fresh off his Gump nomination, and wrote thematic music for an (would-be) A picture.
Aye. Gotta axe what Thor is smokin'? While it didn't blow me away while watching the film (unlike his scores for CASTAWAY, THE WALK, ALLIED & RD1 where my ears were jazzin while watchin da films), it's still textbook Silvestri and anyone with ANY LIKE for Alan Silvestri should be shakin a leg at the beauty of it all.
I actually am surprised by how much people hated this movie. I found it interesting. It's not without flaws, but I found it a touching portrait of a man trying to cure through the power imagination. Most of the things that seem to bother people seem integral to the story to me: the shift in tones, the off aspect of the dolls, the awkward behavior reflect the trauma of the main character ("Polar express" was not supposed to be this creepy looking ). Not only it is technically superb but you are indeed concerned with what's coming next (whereas "The Wire" was just dramatically inert).
As for flaws, I'll concede that the character Nicole is really underwritten (her motivations are unclear, the husband subplot goes nowhere and is no Robin Wright), the self-references annoying and the finale is heavy handed (a Zemeckis trope as "Flight" and "the wire" suffered from this imho). But I am glad Zemeckis still wants and can do original middle budgeted movies (supposedly instinct) like that.
Silvestri's score is as Zemeckis/Silvestri you can get, and a return to form for the duo. Not that fond of the four note military motif, but the delicate scoring is very good if somewhat familiar. The score certainly helps to develop the empathy toward the main character.
I haven't heard "Welcome to Marwen," but I don't understand the premise of Thor's question. Since when do we all like the same music?
That's true, but as a longtime Silvestri fan -- and when people go on about how this is the classic Silvestri that I should theoretically like, but don't -- there's a bit of a mystery going on. I just don't hear it.
I actually am surprised by how much people hated this movie. I found it interesting. It's not without flaws, but I found it a touching portrait of a man trying to cure through the power imagination.
You are not the only one with with this opinion. I just saw the movie on Thursday which was my last chance to see it before it completely left the theaters in my town after barely three weeks. I am also surprised by all those bad reviews. I was expecting to see a bad movie but what I saw was a pure Zemeckis movie: his unique directing style kept the movie engaging at all times, the story was original and intriguing, the visual storytelling was typically compelling with clever transitions between the imaginary world and the real world.
I will agree that it is definitely not the best Zemeckis movie of his filmography but it definitely earns a place of choice in it. Did the movie suffer from certain expectations we may have of a Zemeckis movie? I'm sure it did. Most of his movies tell stories that are on a grand-scale, larger than life. This time, most of the story occurs in a person's house and backyard. The main story itself also covers an odd topic. I can see how it can be a turn off for the audience. Although the movie has its weaknesses, I hope people will give it a second chance in the future.
As for the score, Silvestri is in good shape and offers a great score. For some reason, his inspiration seems to come from a different place when he scores a Zemeckis movie, their collaboration has always been a really good match. I can't wait to listen to the score on its own.
In case anyone has watched the movie is there any connection between this and Moonstruck? Or is the "moonstruck" song used in this considering how similar it and Silvestri's main theme are?
loving the cues! more than his other 2018 scores (PLAYER1 and AVENGERS2) the militaristic march has a Bernstein vibe (STRIPES, SPIES LIKE US) ... or even DRAGNET!
Just realized, the Bernstein connection goes back even further than that. In one of Zemeckis' early student films, "A Field of Honor," the one that famously caught Spielberg's attention, he used "The Great Escape" throughout. I bet that was a point of reference for him and Silvestri on this one. Or at least, I can hear the spirit as you described above, Spielboy.
Here's a link to the 1973 short. Run time is 14 mins; Elmer kicks in for the main title at 2:15, and again around the 8:40 mark: https://youtu.be/cjx-WXg0Mvg
Sadly, I missed "Welcome to Marwen" in its theatrical run – spare me the disparaging remarks, I've read the bad reviews and other comments in this thread – but I'm looking forward to catching the home video release, April 9.
Finally got around to giving this CD a spin. Quintessential Alan Silvestri score. Chock Full of his lovely colourings and stylistic trademarks. It's like when we still always looked forward to a new James Horner score, despite already knowing what we were in for. If you like the Alan Silvestri brand of film music, don't hesitate to buy this CD.
Finally got around to giving this CD a spin. Quintessential Alan Silvestri score. Chock Full of his lovely colourings and stylistic trademarks. It's like when we still always looked forward to a new James Horner score, despite already knowing what we were in for. If you like the Alan Silvestri brand of film music, don't hesitate to buy this CD.
