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Posted: |
Sep 14, 2017 - 10:13 AM
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By: |
DS
(Member)
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It seems like every year there's a new score that gets trashed by critics, but the "trashing" (usually boiling down to the score being "over the top" or "emotionally manipulative") makes the score sound wonderful to my tastes. This year, such a score seems to be "Suburbicon," composed by Alexandre Desplat. The film is directed by George Clooney and is a "black comedy" 1950s period piece.
From RogerEbert.com:
"The movie even starts to grate aesthetically with an overdone score by Alexandre Desplat"
From The Wrap:
"Composer Alexandre Desplat channels Bernard Herrmann as hard as he can to provide this movie with some genuinely suspenseful underpinnings, but the music winds up offering far more than the film can handle."
From The Hollywood Reporter:
"Alexandre Desplat's score works overtime, shifting from sleepy cocktail jazz into needling agitation before pulling out all the stops and going the full Bernard Herrmann."
There are probably others. All of these quotes make it sound great to me.
It's certainly possible the score doesn't work - I haven't seen the film or heard a note of the score so I don't know - but based on the quotes above it's a score I really want to hear.
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Meanwhile, here is George Clooney on his vision for the music and working with Desplat, from an interview on goldenglobes.com:
“I set the story up in 1957, the age of the American Dream. Music was incredibly important because it had to feel like a score from the 50s. It’s the same thing with wardrobe - if you get it wrong, it really stands out. If you get the music wrong and try to be hip, you blow it. But it can’t sound exactly like the 50s because it has got to be a movie in its own time... Alexandre Desplat is a genius, he really is. He came in with this beautiful piece of music and he orchestrated the hell out of it and he said - I think this will make it work, and he did. And I am telling you, when we finished, I looked over at him and I was like, this is exactly, more than I could have hoped for.”
I look forward to Desplat's take on a 1950s sound.
No soundtrack has been announced yet, but I have to imagine one is forthcoming.
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I agree, negative reviews like that of a score, coming from critics who show over and over that they have zero appreciation of a properly supportive and PRESENT orchestral score, fill me with anticipation. 
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Posted: |
Sep 14, 2017 - 8:17 PM
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By: |
Mr. Jack
(Member)
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The more critics complain about a score being "intrusive", "manipulative", or "overbearing", the more likely it is to be good, old-fashioned, well-mixed MUSIC that genetic freaks such as ourselves will enjoy tremendously.  And when critics single out the score for praise, it's usually that bullshit, non-melodic "wall of sound" Zimmer approach.  I'm a fan of Clooney as a filmmaker, the film has a great cast, and Desplat's scores for his Ides Of March and especially The Monuments Men were splendid, so count me excited.
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Totally agree with y'all above.
It's usually a sign of a proper functioning old school score when the current critics trash it.
WAR HORSE got some beatings in the press and even last week, I saw Doyle's score to MURDER ON THE ORIENT EXPRESS get some swift kickings.
Meanwhile, DUNKIRK was soundtrack heaven to the masses this year.
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