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Listening now. "A Fool's Paradise" is a fun cue where typewriter sounds are part of the music
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Weird cover art - it looks more like THE JOKER TRIUMPHANT than a look at Citizen Kane-era Hollywood. But I'm looking forward to hearing it and also seeing the film - if it ever plays Seattle that is. (Otherwise, as I'm not a Nutflux subscriber, I'll have to wait a couple of years for a Criterion release or something.)
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Weird cover art - it looks more like THE JOKER TRIUMPHANT
No, no, it's Commissioner Gordon.
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OK we've had the usual preliminary gushes over the soundtrack, now what about the score i.e. the film and music?
Is anybody there? Does anybody care?? Has anybody seen what I hope to see???
Thanks to the death of Cinema, it'll probably be 2076 before I find a way to see Mank!
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I`ve said previously that the only reason why I want to watch this movie is because it is somewhat set at the Hearst Castle and as an European tourist I found that a very fascinating visit there. However I think I have now found yet another reason to watch that movie...to hear the score because I have never been a fan of Reznor and Ross but I think I might end up being that after this movie or at least I think I am after reading all the comments in this thread.
I wouldn't go into this if you're hoping to see Hearst Castle. Only a couple of scenes are set there, and none of it was filmed there.
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Posted: |
Dec 11, 2020 - 11:39 AM
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By: |
Howard L
(Member)
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OK we've had the usual preliminary gushes over the soundtrack, now what about the score i.e. the film and music?
Is anybody there? Does anybody care?? Has anybody seen what I hope to see???
Thanks to the death of Cinema, it'll probably be 2076 before I find a way to see Mank!
So it's up to me, is it? I'm half-way through and so far have had a fun time. The flick indeed has a deliberate Kane-ish approach in cutting, editing, lighting, etc. with moments of Toland-like deep focus. In-jokes galore. There's even a Howard Hawks-ish touch with fast & furious dialogue. But this is not a movie, it's a film, so unless you have a working knowledge of all the names and history both in reel life and real life...let's put it this way, you could end up looking at it as a crashing bore. You are not the target audience. Fools like me are. Bullseye! 
The score, to me, is not underscoring so much as accompanying the cinematography and dialogue. This project is a big fat romp and the music joins in on all the wink* wink*. Oh my the energy! Literate name-dropping!! Clashing egos!!! LOL!!!!
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I actually was able to see this a few days ago. I'm a keen "student" of early Orson Welles and the machinations of Hollywood/LA of this time period, but, for all its stunning visuals (what you would expect from a David Fincher film) and cleverness, I found it too much of a conventional biopic - its back and forth past/present structure has been done before in better ways like in The Godfather Part II and, uh, Citizen Kane.
The sequence of Marion Davies and Herman J. strolling though the Hearst grounds at magic hour was my favorite. Otherwise there wasn't a whole lot of resonance for me re both the film and its score. (Whereas I couldn't stop thinking about and analyzing the last Fincher/Reznor/Ross project Gone Girl after first seeing it.)
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