No, the film is on my to-see list; even if my colleagues who saw it at the premiere were lukewarm. I really liked what Rich Vreeland did for IT FOLLOWS, so I'm curious about what he did for this. Sounds like a completely different soundscape.
I have been looking forward to this film for some time and it appears to have been delayed again in the U.S., to April 2019.
Milan has had three sample tracks available on youtube for some time. The score appears to be fully or primarily orchestral and very impressive so far!
Very nice Farewell to Lovely-like sounds from this one:
apparently this film is mostly a disaster indulgence piece by this director who started believing himself the second coming of Kubrick or something, it will end up straight to Netflix probably
apparently this film is mostly a disaster indulgence piece by this director who started believing himself the second coming of Kubrick or something, it will end up straight to Netflix probably
"Apparently"?
Nonsense. It is a film that would get lost in the onslaught of big budget movies or arthouse darlings at Christmas since it "only" stars the wonderful Andrew Garfield (who isn't a household name nor a big star) and it´s a quirky modern noir meets David Lynch, something movie audiences just don't appreciate anymore.
During its festival premiere it was receiving the kind of mixed response one expects from this kind of film. People who love it, people who don't respond to it.
Even Paul Thomas Anderson could not get "Inherent Vice" (with more starpower AND built-in Oscar pedigree) to either generate good reviews or award attention. So the decision was made that "Under the Silver Lake" would be delayed for the US market.
In Europe, it is already in release.
And, back to the score: this is one really great surprise. One of the best new scores of the year.
I just watched this last night and, as weird as it is at times, I kinda dug it. The music definitely stuck out and was genuinely effective. I look forward to buying the soundtrack at some point in the future.
As for the film itself, it could probably be 20 minutes shorter and there are some events and subplots that go absolutely nowhere, but it didn't come across as self-indulgent. I compare it to Southland Tales, another film where the writer/director simply had too many ideas for one project. (At least this film was much easier to follow!)
The thing about bad movies, especially so called "quirky" ones, is the quirk provides a comfy cover for the unwillingness of both the film maker and the fans to admit the film is simply not that good. I love Lynch, but his good to bad ratio is about 50/50 at best.
The thing about bad movies, especially so called "quirky" ones, is the quirk provides a comfy cover for the unwillingness of both the film maker and the fans to admit the film is simply not that good. I love Lynch, but his good to bad ratio is about 50/50 at best.
The thing about bad movies, especially so called "quirky" ones, is the quirk provides a comfy cover for the unwillingness of both the film maker and the fans to admit the film is simply not that good. I love Lynch, but his good to bad ratio is about 50/50 at best.
Adding my far too late two cents.....I turned this off 20mins in, a month ago. Tonight, I went back & finished it for no apparent reason. Glad I did - it's fantastic. Like a modern noir script got mixed in with a 20 something's scribblings. Lots of filmic allusions (The Swimmer, Chinatown), some respect to the golden age (Janet Gaynor, those great movie posters everywhere, wasnt crazy about the on the nose Hitchcock grave marker bit though...) & that score....
I liked the composer's prior work on It Follows, as a competent Carpenter-type outing, but this was unexpected. Now I know it wont fill the gap for you Golden Agers, but it's a great try & the mix was straight outta the 50s.
Be sure to be in the right mood, it's a trip, literally....but once I got on with this being a shaggy film noir for these days, I dug it.
I simply didn't get the love for this film or even this score. I thought orchestrally it had a nice noirish sound (not a "nourish" sound, as spellcheck wanted me to write) but melodically there was no "there there."
That's based on only one viewing of the film, though. Maybe when I listen to the CD I'll have a more favorable impression of it.
I'm certainly not in any hurry to watch the film again, as it's likely to make my worst-of-the-year list.
I simply didn't get the love for this film or even this score. I thought orchestrally it had a nice noirish sound (not a "nourish" sound, as spellcheck wanted me to write) but melodically there was no "there there."
That's based on only one viewing of the film, though. Maybe when I listen to the CD I'll have a more favorable impression of it.
I'm certainly not in any hurry to watch the film again, as it's likely to make my worst-of-the-year list.
I can see that, making worst lists and viewed as a completely pretentious POS...like I said, gave up the first time & tonight it just worked, for me. The shock of hearing an orchestral, upfront score, in this era, that put it over for me.
And they list the orchestra in the end title... And there is a shit-ton of music credited in the end, some interesting titles in there.
The film reminded me of Richard Kelly's Southland Tales. Like Kelly's Donnie Darko, I thought Mitchell's It Follows was highly overrated, but in both cases the Mitchell film seemed to show more talent than the Kelly film.
I did enjoy Kelly's The Box, partly for its 70s ambience, though I think it's one of those films that throws in so many twists that it becomes incoherent and/or self-contradictory.
I really wanted to like the Silver Lake score. Every time one of those noirish (not nourish, dammit!*) riffs started I looked forward to it developing a strong melody but it never seemed to. I do have the soundtrack but I don't expect to play it very soon -- I only just got around to playing Gregson-Williams' Wonder Woman and that score is two years old.
*the new docudrama Official Secrets was much better than I expected, and there's a particularly good scene (presumably fact-based), after the British newspaper publishes the secret NSA memo, where the US media declares the memo a fake because it uses British spellings like "favourable", but it turns out the memo was real but a young Observer employee used spellcheck and "corrected" the text before it went to press
The film reminded me of Richard Kelly's Southland Tales. Like Kelly's Donnie Darko, I thought Mitchell's It Follows was highly overrated, but in both cases the Mitchell film seemed to show more talent than the Kelly film.
I really wanted to like the Silver Lake score. Every time one of those noirish (not nourish, dammit!*) riffs started I looked forward to it developing a strong melody but it never seemed to. I do have the soundtrack but I don't expect to play it very soon -- I only just got around to playing Gregson-Williams' Wonder Woman and that score is two years old.
Exactly my reaction to the film and score. The music seemed to be modeled more after Jonny Greenwood's (not great!) approximation of Herrmann in Inherent Vice than Herrmann. Worse than that, it sounds like Billy's First Orchestrations. I appreciate the intent of the score, but it was beyond amateurish.
I thought it was fine. So was the film, although it was a definite step down compared to the wonderful IT FOLLOWS.
Both were steps down from his hypnotic first film, The Myth Of The American Sleepover. It Follows was so good until that ridiculously stupid pool ending. Ruined the whole movie.
Good points about the Silver Lake score, fellas - and I need to track this other Mitchell film you speak of, Shaun.
Not to backpedal, because you are both right - the orchestration was a bit mawkish compared to what "we're " used to and I didnt hear any melodies to take away.....but I think in this climate of regurgitation, just hearing this style, that mix....warmed the cockles, feel me? It was such a strange choice that played against the visuals but scored those noir pieces of the story. Youngsters digging on the Golden Age made it more enduring, to me, also since that's a fast fading era. Kids dont know anything about pop culture's past now.
I felt it was made for a weirdo like me who has rows of Alfred Newman & Dimitri Tiomkin cds parked next to Sigur Ros, St.Vincent & Elbow vinyl. So, no wonder it's an enigma, ha!
