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| There are 528 Reviews Done |
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Ilan Eshkeri, Sinead O'Connor - Young Victoria, The
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| Timeless Love Story Made Into Beautiful Music |
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The Young Victoria by Ilan Eshkeri leaves me with further anticipation of the future music that may be scored by this composer. Eshkeri does a wonderful job in my opinion of capturing the romance of the period, the elegance of the new Queen and the growing love throughout the film between Victoria and Albert.
What I love most about this score is how the love theme created for Victoria and Albert grows throughout the film. It parallels the story wonderfully, with their first intimate moment in the track Archery, Albert is able to be alone and close with Victoria for nearly the first time. The theme is a grand, warm and lush track played out with violins and piano. Rainy Gazebo is the next instance this theme plays, when Albert leaves for the second time, unwilling to leave but unable to force the matter with Victoria. The theme turns sad as Albert in unsure about their relationship. Letters from Victoria has the theme again, played in a minimalistic style on the piano, it shows that there is a love between the two as shown in her letters, her need for him. The theme then culminates for the first time in the track Marriage Proposal where it is teased to play a few notes on the piano, showing Victoria’s uncertainty, but then growing into a big crescendo as she asks and he of course says yes. Honeymoon of course has the love theme, played throughout in different variations and in a more lighthearted and happy way because their love has been realized. Assassin, where one would not expect a love theme, holds one of the most touching instances of the theme. Victoria goes into this track upset with Albert, but as the title implies there is an attempt on her life. The theme turns sad and somber near the middle then comes to its aching beauty at the end, where she realizes he is so much more to her and her love was not given in full. Victoria & Albert is the best variation and realization of the theme, it is a beautifully orchestrated piece and a fully lush version of the theme, when their love is fully realized, she accepts him as her equal.
Eshkeri also has arranged and included classical pieces into this score, most notably the Coronation Anthem No. 1 by Georg F. Handel found in the tracks Childhood and The King is Dead. Showcasing the two scenes where it is shown that Victoria is crowned Queen. The King’s Birthday contains ‘Waltzer a la Paganini’ by Johann Strauss, arranged by Eshkeri, a fun classical tune that is perfect for a birthday dance, and Buckingham Palace has portions of Contredanses also by Strauss and arranged by Eshkeri. The King is Dead and Albert Returns contain parts of ‘Standchen’ by Franz Schubert, arranged by Eshkeri, Lord Melbourne has parts of ‘Serenade for Strings’ by Antonin Dvorak, arranged by Eshkeri and The First Waltz has portions of ‘Della Crudele Isotta’ by Gaetano Donizetti, also arranged by Eshkeri. Constitutional Crisis contains a part of ‘Cold Song’ from “King Arthur” by Henry Purcell, which gives the perfect solemn feel to the mood of the track.
Albert’s Theme and Victoria’s Theme are both simple, orchestrated tracks, but are still lovely in their portrayal of the two young people apart from each other. Swan Song is a predominantly piano oriented piece, as Victoria wrestles with Albert leaving but still having this piece of piano music to keep them together. Riot is a more upbeat, hurriedly paced track, orchestra to show the unrest and disquiet of the people. Letters from Albert is another simple but moving orchestra piece, somewhere in between their love theme and his own theme found in the beginning of the score. The ending song, Only You as sung by Sinead O’Connor is not too much to my liking, I love the lyrics and the story that is told of Victoria and Albert’s love, but Sinead’s voice does not do much for me.
Over all, I greatly enjoy this score and highly encourage the watching of the film too. Eshkeri does a wonderful job to bring this timeless love story into music, he creates beautiful themes and gives a wonderful portrayal of the times they lived in.
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5 of 5 found this review helpful |
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Jennie Muskett - Miss Austen Regrets
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| Lovely Portrayal Of Jane Through Beautiful Piano |
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Miss Austen Regrets, by Jennie Muskett was a surprise to me which I quickly fell in love with as I heard it over and over. The production by BBC is wonderful as well, giving an engaging portrayal of Jane later in her life and also of her niece Fanny and the struggles they face.
The music of the Miss Austen score is mostly dominated by a lovely entreating piano, with various other instruments adding background as needed. The score starts off with The Proposal which has a strong beautiful piano playing out the main theme of the film, associated with Jane, it marks the beginning and end of the film. The first track though in contrast to the ending theme variation, goes further with the melody to leave listeners with that moment of hope and promise that Jane still feels at the beginning of her story. A Social Engagement has the piano playing out a happy free flowing melody that follows the more light hearted moments of the film, also associated with Fanny and her struggle to understand her Aunt and place in the family. After Dinner Speeches has the piano visiting the main theme again, giving a new variation near its end. It has the strings also to provide accompaniment and depth.
Courtship provides another free flowing styled piano and string track, creating the mood of hope for Fanny as she tries to discover what it is she is supposed to want. The track does well to give the feeling of high expectations and uncertainty intermingled together in a beautiful track. Solitude is a sad feeling solo piano piece, it meanders through its melody not in a rush to tell its part of the tale. Searching has two pianos playing out the theme heard before, more of a rushed feeling, as the moment suggests, hopeless, uncertain feelings.Jane’s Jig is the most upbeat and playful of tracks, exactly as it says it is a jig so it has that Irish fiddle playing out a dancing tune.
London has the violin and strings as the dominant instrument, a new sense as Jane is in a new place; unlike the feel of the other tracks when she was at her country home. Solemnity goes back to the solo piano, playing out single notes in a somber sort of way. Desire has that upbeat piano feel again, reminiscent to the Courtship track with the wandering piano in a slow but purpose driven feel, strings also add notes giving it more of a lush feel. Beyond Reach uses the piano to show Jane’s despair at the moment, it goes back to the original theme heard in the beginning track. This is the best rendition of the theme because here it is still hope for Jane and it is the most fully developed of the theme tracks. Two pianos play this out beautifully and strings enter at the crescendo.
Hampshire goes back to the string and piano duo, similar to other tracks in that it slowly moves along, slowly unfolds its beauty and takes you deeper into the beautiful melody of the score.Royal Visit is a more serious piano track, dealing with the content, this piece has more depth and a lone guitar picks its way through the track as well giving it a richer intensity than heard elsewhere on the score. Regrets has the solo piano playing out a variation of the main theme, minimalistic again in style, but it is such a beautiful theme it is still welcomed in all its varieties. Fanny’s Wedding goes back to the Courtship melody, Fanny’s music as it were, more upbeat and lighthearted, but the sadness can still be felt. Another beautiful track played out on the piano at first with strings coming in to add to its depth and rich feeling. Listen to Your Heart is the first half of the first track, ending Jane’s story with no more hope for her, but still that hope for Fanny and others who do as Jane suggests, listen to your own heart.
I love this score, the piano found throughout is simply gorgeous, it touches the heart and mind as so few scores can do. My only negative view is its length, it would have been much better if it had contained more of the music, but that seems to be a common trend in scores. Regardless, it is a beautiful score and offers much to someone looking for simple beauty.
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6 of 6 found this review helpful |
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Alexandre Desplat - Twilight Saga, The: New Moon
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| Unabashedly pretty and romantic |
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For the life of me, I’m not entirely sure what possessed me to purchase this album. I have no use for the Twilight saga and as of this writing, have not seen the movie which this score accompanies. It may have been curiosity, the good reviews I read here and there, or possibly a desire to like something, anything by Alexandre Desplat, since his score for The Golden Compass put me to sleep. Whatever it was, I’m glad I bought it, because it’s an enjoyable album, if not terribly varied. I like it better than I did its predecessor, by Carter Burwell, which I found jangling in places.
Almost the entire album is dedicated to romantic music, so if that’s what you like, there’s plenty here for you. The first track, “New Moon,” is the first but hardly the last statement of the love theme. It’s a theme I enjoy, so hearing it for the next four or five tracks is just fine. The theme takes a short break during the 3rd quarter of the album, but is back for the finish.
The stuff that isn’t the love theme is where the album doesn’t succeed as well. There are a few tracks that sound like they should be about action or menace, like “Werewolves” and “Wolves V. Vampire.” The problem is, they just sort of blend into the mellow, classical overall sound of the album, so it sounds to me like they’re not doing their job. There’s some urgency in “To Volterra,” but it takes forever to happen.
I also found the music for the Volturi disappointing. “Volturi Waltz” is a short, seductive little waltz that made me eager to hear that music again. The best bet should be “The Volturi,” but that track doesn’t seem to include that theme. Instead, there’s some tense strings and drama that probably work well in the context of the film, but don’t make for a satisfying listening experience.
I do like this score. I think it makes great listening on quiet snowy days (like the day today as I write this review.) But while much of the music is beautiful, at times it just doesn’t sound like there’s much going on.
Request: “New Moon” “Volturi Waltz” “Romeo & Juliet” “Full Moon”
Avoid: “To Volterra” and “The Volturi,” because the music isn’t worth the length.
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1 of 1 found this review helpful |
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Marvin Hamlisch - Informant!, The
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| A Fun Secret Gem |
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The Informant score for me was a wonderful discovery during one of the updates, from a composer I'd never heard of and a film I had not yet seen. The score though I think is a wonderful, fun, upbeat and humorous bit of music that can be enjoyed thoroughly without getting boring or mundane. The film, from what I've read, is a sort of comedy on the insider, corporate spy genre so the score does a great job of reflecting the time and the feeling.
The Informant starts the score with the main theme, the piano is the main instrument playing out the melody, going into the trumpet accompanying and harmonica. The feel of the piano reminds me of those players at Macys, lounge music that creates a mellow feel good mood. Meet Mark then is in a different mood with an upbeat flute and organ playing out the main tune of the track, with a jazz trumpet coming in to help with melody throughout. The organ being like those you'd find in the 60s at a roller skating rink. It is a fun upbeat track, coinciding with the character it portrays. Car Meeting is the first 'secret agent' track of the score. I cannot help but give it this title because that is what I think of. Old school spy films comes to mind, with the guitar playing out the sneaky feel, ala James Bond, and the trumpets coming in to add to the robust sound of the track.
The Raid track makes me giggle every time I hear it. It uses a kazoo as a little background instrument and I find this track to be far more fun than it probably is to others. It is another fun upbeat track with that 60s feel to the music, with the wind instruments being the main carriers of the melody and the brass bringing up the rear. This track is similar to the main Austin Powers track, Soul Bossa Nova, minus the vocals. Multi-Tasking has the roller skating organ back, with the trumpets, playing out the main theme in a round a bout way, the 60s lounge feel is very prominent in this track and ending with the spy styled music. Polygraph is also a crazy track with a fiddle and country styled theme for the track, unlike the rest of the score. A banjo is also featured in this silly track along with the harmonica again.
Boxes goes back to the mellow slow feel of the first track, almost an exact imitation of it. After Car is similar to the Mark track, the same theme is played out with additional harmony adding to the mix to still make it a little different. Trust Me is a solo piano track, as listed, playing out the main theme. Styled with that lounge feel, its a fun piano pick that has a harmonica come in for a little backup mid track. Sellout is in the same style, 60s lounge feel, but brings out a different melody for this track. The keyboard plays out the main theme, with the guitar adding that 'secret agent' feel to the track as well. Triplets goes back to the piano main theme of the informant, short variation on that theme. Golf is another upbeat, 'secret agent' styled track. With the brass the main instruments creating that hurried important feel to the music The Informant is the first track of the song, obviously, played out on a solo piano. It gives a jazzy upbeat feel to the track, wonderful fun on its own. Trust Me is the singing song off of the score, the lyrics are fun and it again is in that jazzy 60s feel musically.
Overall I love this score and I think it is a wonderful score to listen to when needing some fun upbeat music to brighten your day a bit. I love the unique feel of the score and find myself constantly coming back to request from it, never gets old!
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5 of 5 found this review helpful |
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Alan Silvestri - Back To The Future Trilogy, The
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| Trivia about this album |
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Just a comment. This album is a re-recording in 24bit conducted by John Debney. While it's note for note perfect, this particular album isn't by Silvestri.
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2 of 2 found this review helpful |
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Hans Zimmer - Sherlock Holmes (2009)
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| A Fun Different Take on a Classic |
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If a word could summarize this Zimmer scoring it would be Unique. It doesn’t follow the time period styles, or the pre-conceived notions of English music for that era, instead it goes beyond and invents a new style for Holmes, a new feeling for the character and in that journey one goes beyond the original themes and options of the Sherlock Holmes character. I find this score a lot of fun, same with the movie, and although purists state how far from Conon Doyle’s character this movie takes viewers, I think it does a superb job of taking viewers, and listeners on an adventure through the mind of Holmes and through the dirty times he finds himself in.
Discombobulate is the first and opening track of the score and as such contains the main theme for Holmes. This theme is played out on the banjo, a strong instrument in this fun upbeat adventurous style within the score. The Hungarian cimbalom also makes its first appearance in this score, both adding to the unique and different styled music to Holmes. Is It Poison Nanny is the next track, the first of the thoughtful, moody tracks on the score. The cimbalom comes back to play out the theme, a guitar comes in to create another core score element found throughout the film. It plays a few notes, but creates the mood of mystery and investigative thought. I Never Woke Up In Handcuffs Before is one of my favorite tracks, a fun silly tracks that sounds like it belongs in a Hungarian comedy rather than a semi serious English film. Upbeat and quick, it is certainly unique on this score.
My Mind Rebels At Stagnation plays out the main theme again on the cimbalom, similar to the first track, though less upbeat and rushed it its telling. This theme, although played repeatedly does not get tiring, maybe because all I can see is Holmes running through London. The tracks ending goes to the other strong theme of the film, played out through the violin in a brooding assertive manner Date, Date, Data is the next track, going back to the more solemn and inquisitive styled tracks, the violin makes its prominent stand again. Minimalist styled track, building tension throughout the playing. He’s Killed the Dog Again plays out the violin them to start, it builds to its crescendo which takes it to the rock guitar playing out the main theme again. The drums and violin come back and the main theme is played out in a teasing sort of way, not giving it all at once, but building to that point and suddenly ending.
Marital Sabotage brings the cimbalom back into the mix, playing the main theme in all its glory. Not as fully developed, but rather in a rushed sort of way. Then it leans back to the quieter, yet still urgent feeling of the three noted violin theme. Still another good tension building track. Not in Blood, But in Bond is a great violin solo track, the emotion and sorrow felt in the track portray nicely the scene of the track. A moody minimalistic track, it gives the listener the other side and feeling of the Holmes character. Ah, Putrefaction goes back to the lovely violin sounds, emotive and lovely track. Panic, Shear Bloody Panic is another cimbalom track, another main theme centered track and another fun bit of scoring. Psychological Recovery…, the longest track obviously, but to its credit it does well to hold its own throughout the 18 minutes, building on all the themes previously heard, adding color in between and taking the listener on a journey that seems to keep finding something new around every corner. Catatonic ends the score, start off with the emotive violin again and then brings the banjo back for its start of the main theme. The cimbalom comes in as well and the two instruments play back and forth with teasing the listener with the start of the theme and then takes the entire length to fully develop it is all its lovely glory.
I think the film was a lot of fun, a great adventure and the scoring dose a great job to portray the fun, the mystery, the adventure and the moody brilliance of the actors in the film. I do not like all Zimmer, but this stands out as a very good job done by him, fits the film wonderfully.
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12 of 12 found this review helpful |
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Hans Zimmer - Sherlock Holmes (2009)
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| ****** joy |
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seen in the sneak yesterday, rememberd the tracks allready heard here.
funny thing: sneak -- nobody knows what will come, while you see the brands
you hear the first notes and there goes a big "YES" trugh the rows.
as allways the "Zimmer fingerprint" lets you know good music
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0 of 5 found this review helpful |
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Clint Mansell - Moon
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| My Moon Review in it's entirety. |
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Having now just watching the “Moon” movie (2009), I feel I have multiple opinions that people on this site might find interesting or worthy of being read. Again, these are only opinions and you are free to form your own.
Without going into too much detail or spoiling the plot for those who haven’t yet seen, I shall sum up the story so that you may be informed.
The movie first informs the audience that the discovery of a new material harvested on the moon can reduce emissions and help recover our planet. This material is called Helium3 and it was found to be embedded on the rock surface of the moon. The movie then picks up close to the end of the 3-year contract, served by Astronaut Sam Bell. His mission on the moon is collect the H3 that the harvester machines are automatically programmed to do, and then send the collected material back to earth via a small, coordinate-ready vessel. Essentially, he looks over things and performs the labor tasks right there on the moon’s surface. Sam’s only assistant and companion is an AI robot named Gerty; programmed with the missions and various other essential programs and skills, Gerty uses emotion-icons to portray the reaction it has to Sam’s requests, questions, etc. The movie doesn’t say whether there were any astronauts performing Sam’s tasks prior to him, but don’t look too much into that. His home is the Sarang (sp?) moon base, located on the face of the moon (unseen by earth), thus any communications being sent or received, have to travel via multiple antennas. Well, we come to find out that the live feed Comm.-link has been down the entire time that Sam’s been there, so any messages from his wife or Mission controls back on earth are delayed getting to him, and visa versa for sending any messages back. That lack of direct communication, enough to make anyone a little bit nuts for that time period, certainly takes its toll on Sam as he openly admits (to Gerty) that he’s started to hear, see, and experience things that he doesn’t think truly exist. Once you’ve gotten a sense for how his life is unfolding out in space, an issue arises with one of the harvesters. He travels out to service it, but when he’s out there he spots something that distracts him and actually crashes his rover into the harvester. When Sam awakes, he finds himself inside the infirmary of the moon-base. Now he is left to find out what happened out there, why is nothing adding up, and (most importantly) why does he keep running into himself on the base?
I do not want to give away any more descriptions for fear of answering those very questions.
Time for my review!!!
I’ll start with what I didn’t like about the film.
I did not appreciate the scene transition effect, practiced throughout the first half of the movie. In an effort to show the audience periods of time lapses, the scenes, at times, would get cut-off almost too soon, IMO. As they focused from one scene to the next, they used a fade-to-black-and-back effect; which almost distracted my mind from the plot (not necessarily because I wanted to know what was going to happen next in the previous scene, but because I wanted to see the full reaction of the character in that situation.) It’s kind of hard to explain, but I feel that they could’ve let the scenes go on just slightly longer than they did. Luckily, this transition effect pretty much stopped altogether about half-way through the film.
I also didn’t like the limited range of emotion-icons used by Gerty throughout the film. I mentally counted approximately 6 different expressions. The use of the emotion-icons isn’t pertinent to the pace of the story, but it is important to the feelings you collect during any giving scene. I must be so used to having over two dozen versions of smiley faces in the chat, that can’t look past what the writers somewhat overlooked by not including more variations.
There really wasn’t much else that I felt desperately needed improvement. “All systems go” from here on out.
Acting
This was primarily a one-man show. Sam Rockwell took on the tough role of Astronaut Sam Bell. You could argue that acting is so easy to do and that actors are giving more credit than they should; however, a big hats off to Sam R in this performance. I have enjoyed his acting in such films as “Hitchhiker’s Guide to the Galaxy” & “The Green Mile” playing Zaphod Beeblebrox & ‘Wild Bill’ Warton, respectively, where he intertwined, what seems like, his wacky personality into those roles. It goes without saying that the Sam Bell character was indeed written specifically with Sam Rockwell in mind. First time movie-director Duncan Jones originally wanted Sam R to play a specific role in one of Duncan’s other scripts, but Sam wanted to play a different character in that story. Thus Duncan wrote an entirely new script for the actor. Kind of greedy on Sam’s part (one would think), but the end product that everyone got in return was more than worthy of a mini-soap opera.
Sam Rockwell approached this role from every possible angle to ensure that the story meshed and was believable. He had stated, in an interview, that his delivery was all about having exact timing; and he was more right than anyone can imagine. There are scenes in the movie were Sam Bell is physically right next to himself. He's having back and forth conversations, physically fighting himself, and even carrying himself across corridors. In order to make the audience buy into the fact that they did not use a stunt double, Sam Rockwell rehearsed diligently, studied the footage of his first Sam's movements and reactions, and memorized his first Sam's placement in a room; all this in order to make sure the two characters didn't collide when they weren't supposed to. There were only a few spots where I felt like Sam Rockwell was not at his very peek of performing and could have slowed down to give it another take; but those moments were short-lived. Tremendous acting!
9.6 out of 10!
Visuals
I had almost no issues with the visual effects and the scenery. Baring in mind that they had a limited budget of $5 million (vs. Transformers ROTF budget of $200 Million), this British Independent Film had to focus more on indoor scenes and models, as opposed to all Computer Graphics. Their original hope was to film on location, but they instead wound up building the Sarang (sp?) Moon base, in its entirety. (Something I was I could've been in.) This brought their focus more so on lighting levels instead of scaling. I felt as though I wasn't being cheap-skated out of knowing how enclosing a setting like that could be for the character.
They also used a lot of models and scale replicas to cut down on costs; which IMO gives me the sense that that object (be it a rover or a harvester, etc.) did exist in real life. I can sense the mechanical aspect of the situation a lot better when models are used, as opposed to CGs.
When Sam was on the moon, I noticed limited jumping in his movements (a higher concentration of gravity) when I would've thought that I should have seen less restriction to the gravity of the moon's surface. So I guess you could say it was more in the acting, than in the visual effects. I'm also not all that familiar with the sun's path and how it traces on the moon, but they might have been showing sunlight when they shouldn't have (according to the story). The imagery of the moon/earths' surface was overall believable and I didn't see any flaws there. Make-up was just fine, and preformed the task that it needed to.
9.3 out of 10!
Score/Soundtrack
I hope that constantly requesting tracks from Clint Mansell's "Moon" soundtrack didn't hinder on my overall all experience when I orientated the score with the film. In part it seems like I didn't give my mind a fair shot. This is why; it seemed repetitive at times. How dare I say that, right?! Honestly though, the beginning few tracks, to go along with that awful fore-mentioned transition effect, seemed to come into play all too often; and I found that distracting. If you can play in your head the theme of the overall score, imagine hearing that all throughout the first half of the movie, and then again at the finale (though I will discuss the finale later). I enjoy Clint Mansell's work. I don't feel that he is better than JW or DE or JNH, but he certainly has made a name for himself; most especially due to his Requiem for a Dream score.
It was enjoyable music, but the main theme was much too dominantly used. However, I extremely enjoyed the finale. Going along with the pace of the movie, I was at peace with what I emotions I assumed I would feel at the completion of the film; but then the throttle kicked in and from out of nowhere the plot threw in a critical-timing element that got my heart rate pumping to an immensely level. It was caused by a carefully planned combinations of items, all sequenced in unison. Something happens in the plot and Sam Bell's character is frantic to complete a last-second, life-changing alteration that was combined with dramatic cinematography, and a punch you off your feet finale that (this time) was perfectly suited for the moment. When it was over, I felt anxious to watch the entire movie over again and then crank up the speaker volume for that finale scene! This score needed very little improvement.
9.5 out of 10!
Overall Movie Rating:
9.5 out of 10!
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6 of 6 found this review helpful |
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Christophe Beck - Elektra
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| Boring movie; the score is just okay. |
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Elektra was a movie I was looking forward to that disappointed me by being very, very dull. Out of fondness for the character and a soft spot for Christophe Beck because of his days on Buffy, I picked up this score and found that it, too wasn’t very interesting. This is one of those scores that combines traditional instruments, an Asian sensibility, and electronic sound beds, so if you want to request, you need to decide if you like that kind of thing. If you’re familiar with Beck’s “Suite from ‘Restless’” on Buffy: Once More With Feeling, then you have an idea of what you’re in for with this score.
The “Main Title” sets the stage for the rest of the album. The main theme for the film, and for Elektra herself, is played on strings, with a background of soft, echoing percussion, which sounds mostly electronic to me. For a movie about a deadly ninja-for-hire, the theme is kinda soft. The last cue, “Elektra’s Second Life,” gives a fuller version of this theme, and I think it’s entirely symphonic. It gets a romantic treatment in “The Kiss.” Another soft theme, for the girl under Elektra’s care, shows up in “Just Sit Quietly” and “Just a Girl.”
There are action tracks a-plenty, especially toward the end of the album. Tracks like “Ninjas” and “Kirigi” are examples of the sound. These tracks also get a lot of the electronic distortion that is a feature of this score, and I think it gets in the way of the music. “The Hand,” which introduces the bad guys, is pretty much all electronic sounds. Though normally that kind of thing turns me off, on this track it creates a low, menacing effect quite well.
My favorites are “DeMarco’s End” and “Insomnia.” The first track underscores the first kill we see Elektra make. The strings deliver tense background, there’s a brief pause, and then the percussion and strings come in and kick butt. “Insomnia” is similar, but without the tense build-up, and with more Asian instrumentation. Perhaps this is the ninja-for-hire music I was looking for.
Request: “DeMarco’s End,” “Ninjas.” “Gnarly Gongs” is just what it sounds like; funky windchimes. It’s not bad.
Avoid: “Stick,” which spends a lot of time being boring before the percussion comes in.
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3 of 3 found this review helpful |
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Charles Chaplin & Carl Davis - Charlie Chaplin: The Essential Film Music Collection
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| The music of Charles Chaplin |
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THis 2-CD-Set is a great compilation of Chaplin's musical work. It's not the original music Chaplin wrote for the movies, but re-compositions made by Carl Davis.
CD 1 has Suites put together from the different themes of the movie, such as THE KID, GOLD RUSH, THE GREAT DICTATOR etc. Track 1 and track 14 are "symphonic adventures" with well known themes.
The second disc offers music composed by Carl Davis to the Mutual-shorts.
All scores sound very "Chaplineske" and move the heart!
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4 of 4 found this review helpful |
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