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http://youtu.be/MIiwwkqLn4g
IT is a beautiful score...John Williams soars again..but in a quieter moments. It is a mellow score...no bombastic over the top moments. It reminds me of Schindler's List...powerful, without over scoring.
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I agree. Also, it's much more inspired.
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Although the score is utterly predictable, it's well-made and Williams pushes all the right buttons. That said, despite the uneasy combination of British and Americana elements (a tension not present in Lincoln) in WAR HORSE, I found that score more entertaining to listen to as pure music.
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Maybe once i've seen the movie i'll be able to enjoy it "better". After the outstanding TINTIN and the overwhelming and generous WAR HORSE last year i find LINCOLN less appealing. It's not unpleasant but rather "static". And by "static" i'm not talking about its rhythm or its pulse, which would be stupid -- it's not LINCOLN AND THE TEMPLE OF DOOM after all. It's a more general feeling involving harmonies and intervals. There's no much renewal in it or maybe i wasn't able to notice it. Counter-examples are very welcome.
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Posted: |
Nov 15, 2012 - 5:37 PM
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By: |
John Mullin
(Member)
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utterly predictable
I know you were generally being positive about the score, but the word "predictable" has been used several times in this thread now (and in many others), and I'm convinced that it's a completely meaningless comment.
I can't shake the feeling that the word has kind of an inherently negative connotation... so is it a complaint that the composer in question wrote appropriate music? This is a movie about a greatly admired President who lived during the mid 19th century... what Williams did seems just about right for what's called for. I would think that pretty much any composer would approach the movie with similar Copland/Americana-style influences, unless, of course, the filmmakers involved specifically told them not to. What would have been "not predictable" here? If Williams had scored it all for an electric guitar, panflute, and a Mongolian throat-singer?
So if we're applying the "predictable" standard with film music, when's the last time any of us have heard a score that's truly "unpredictable?" The only examples I can think of are scores like Johnny Greenwood's THERE WILL BE BLOOD, which the vast majority of people on this board seem to really hate.
The LINCOLN music is more or less in the style that I was assuming it would be in, I suppose, but of course I did not have the clairvoyance to accurately forecast the exact notes that Williams would use for the various themes or how he'd play them against one another. As it turns out, I really like those themes, and Williams use and orchestration of them. And I like how the CSO performed the music. It's not changing my life that significantly, I must say, but then I wasn't really expecting it to do that either.
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Posted: |
Nov 15, 2012 - 9:23 PM
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By: |
dogplant
(Member)
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What would have been "not predictable" here? If Williams had scored it all for an electric guitar, panflute, and a Mongolian throat-singer?
Mr. Mullin wins quote of the week, and I had to try his suggestion:
http://soundcloud.com/contactflashfilms/predictable
I thought "Lincoln" was scored perfectly, and beautifully. I loved the way the score took a backseat to the dialogue, which was the heart of the drama here, and they often played long scenes with nothing more than characters speaking accompanied by an off-camera clock, or by Lincoln's pocket-watch, which was like his ticking conscience. When the score came in, it had that much more resonance.
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>>>>>utterly predictable>>>>>>
I think the term we are looking for is 'damning with faint praise'.
I think what he meant to say is, Goldsmith would have used the same instruments and techniques, but it would have sounded a whole lot better to him.
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Totally agree with Mark's comments above.
Is anyone else being reminded of STANLEY & IRIS at times, during the piano melody.
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The score pushed all the right buttons in the film, but I have absolutely no desire to listen to an album of it.
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