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Posted: |
Aug 10, 2020 - 4:26 PM
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By: |
Grecchus
(Member)
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A tiny piece of the score I've always been taken with is the last bit of the otherwise unused overture. It erupts when Antony turns his back on the agitated mob after his famous eulogy, walks towards and past the camera, and gives a little smirk.
In effect, then, you are giving credit to the unknown somebody (perhaps a music editor) who chose to insert that piece in the scene. Nathan Platte's fine Selznick book has made us realize how many scoring decisions in Spellbound were actually made by the de facto music director, Audray Granville.
Shakespeare demands asides. Some funny, some not so funny. The film is a classic hybrid of Brit pop and Yank slang of it's day. That scoring for the wind a rustlin is just about right for the theatrical take on "the Ides Of March."
Aside: There is a similar sort of connivance in Gibson's Apocalypto. At the top of the sacrificial steps, the Mayan ruler and the high priest exchange a knowing smirk as the solar eclipse is transiting, knowing full well that totality will pass due to their insider knowledge, putting a halt on the sacrificial killing for the day while the little people run around in circles below. The same political manipulation is going on - everyone gets what they want and the 'majority' are none the wiser. Gibson says as much in the running commentary.
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Favourite composer: great choice.
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