HGW is far better than Pemberton. A pity Scott doesn't work with Zimmer anymore, hasn't since MATCHSTICK MEN in 2003. I wonder if they fell out?
A final Scott/Zimmer collaboration had been nice.
According to Zimmer insider, Zimmer and Scott still talk regularly. It is a situation where you can be friends with someone but realized you needed to take a break from that person professionally.
It does indeed. Looking forward to both movie and score.
Wonder if the film is going to take a side on the subject too. There was a brief shot in the trailer that had me assume it is favoring Carrouges' claim, but we will see.
ShitTunes-only digital release - October 15, 2021 - Hollywood Records :
1. Duel Preparations (3:36) 2. Leaving for Scotland (2:42) 3. Marguerite de Carrouges (2:18) 4. Returning Home (1:14) 5. Jean de Carrouges (1:18) 6. Managing the Estate (2:23) 7. Court of King Charles (0:56) 8. The Wolves (2:33) 9. Confrontation (0:37) 10. Jacques LeGris (1:13) 11. I’ve Never Seen You Like This (1:12) 12. Confession (2:16) 13. I Offer You a Name (3:28) 14. House Meeting (0:58) 15. Chapter 3 (1:11) 16. Left Alone (1:17) 17. Forgive Me for Intruding (1:27) 18. Tell No One (2:28) 19. The Duel (5:12) 20. The Aftermath (3:08) 21. Celui Que Je Désire (performed by Grace Davidson) (3:49)
Saw the film four days ago. For the first time in a very long time, I was disappointed in a Scott movie. I've stood on the parapets and avidly defended films like the new ALIENs or EXODUS: GODS AND KINGS (and I will continue to do so), but this didn't do it for me. My main issue is the 'woke' element, which is bizarre when you consider that Scott has always been a pioneer in portraying strong female characters that grow organically out of the story (Ripley, Thelma & Louise etc.). In this case, however, it felt forced. Obviously, the source material could be blamed, but I still don't like the way the rhetoric was on display here, in its RASHOMON-like storyline (with the same story told by three different people). At some point, the Damon and Driver characters become stencils, to say nothing of the hilarious Affleck count, which seems to have walked in from an old ROBIN HOOD movie or something.
While Scott's visuals are always top-notch (plenty of trademarks here too, like chilly, blueish landscapes, candlelight lighting, snow flakes in the air), the storyline was too hurried to dwell on the surroundings, meaning that you never got the time to properly enjoy his mise-en-scene (and Wolski's cinematography).
So for those expecting another THE DUELLISTS (given the subject of the movie), I'm sorry to disappoint.
HOWEVER, I really liked the score. By no means another KINGDOM OF HEAVEN from HGW, but wonderful medieval instrumentation, some very defined themes and -- most importantly -- sparingly spotted. Really looking forward to listening to this on album.
I assume that by "sparingly spotted" Thor meant that there is very little music in the film, but when that music is heard it works very well in the context. Otherwise, 40 minutes would be a surprisingly short running time for a score album - especially for this genre - by today's standards.
Film is surprisingly excellent, really angry and brutal for what would ordinarily be a middlebrow prestige picture. One of Scott's most visceral and bloody works. The score is a really mixed bag, some boring generic post-Zimmer stuff but also some interesting and artful cues, the second chapter especially has some good bits for organ.
The song at the end is very, very good - it is my most favorite track on the album. I am not sure if I should even call it a song because it's sounds like the same vocals that's heard throughout the score - but more refined and polished here. The melody that opens that song (and used throughout), however, reminds me a great deal of Debney's "Bearing the Cross" from Passion. I wonder if that score was used in the temps.
