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Between this and Unbreakable, I don't know which is more inaudible on CD.
Are you complaining about dynamic range? That is a good thing, not a bad thing. So many CDs these days have greatly squashed dynamics, victims of the "loudness war," consequences of people listening via earbuds and in cars.
AJ
It's cool, you don't have to explain to me what the loudness war is.
The score is quiet and subtle, to the point that you forget it's even playing at times. Similar to the "Skyfall" track from Newman's Bond score, where I had to check to see if the album was still on. Not always listening with headphones.
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It really is a good film, well adapted from its source material.
The novel has some differences, and film by necessity must streamline, but it well handles the topic of lost love, dealing with that, and finding the strength to move on.
The music is one of JNH's best scores, with the kind of emotional depth he finds for his music for the Shyamalan films.
Curiously, this was the score I played over and over during 9/11 and the days following. Over and over.
Grief is a shadowy, foreign land, occupied only by reluctant travelers.
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Yes, the film is quite haunting when viewed front to back. The music adds to the hypnotic tone the film establishes.
I also felt that the film was a good adaptation of the novel. While there are some differences, they are mostly minor and are related to how different the two media are — the film could tell some of its story through its stately visuals. Certainly the connection between young Ishmael and Hatsue benefited from how those sequences were shot and scored.
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Yes, it's not too coincidental that those are my two favorite Howard scores.
I don't recall which score that was I was insisting had to be heard only in the film.
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