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When I was ten years old my friends joked about " BM".
Who would believe a man old enough to collect SSI would still think that is funny or wounding?
At least "Roger Debris" shows a degree of sophistication
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Stroppy you are correct about the music, it is a dunderheaded trash can banging sound effect, not even musical nor composed really. The best part of the score was composed, by..Elgar.
But as soon as Thor wakes up, boy - you are really in for it.[/endquote ]
Yeah somebody wake up Thor!
Lol.
He isnt hibernating is he?
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[startquote---]
Peace on Earth
Good will to all men, women and God's creatures
Bruce
... friend of mine was driven away by relentless trolling. ..?
Alan MEYERSON?
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Posted: |
Dec 24, 2017 - 11:30 AM
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By: |
leagolfer
(Member)
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It seems people have a misunderstanding to what this movie is, & what Nolan & Hans. Etc, were doing!
Hans, plus others, made a decent score , the film is based on complete tension, Zimmer choreographs the film & events acting as the foundation for it narrative strands. Nolan intended for Zimmer to ramp up tension to almost excruciating levels, some think as simple as a ticking clock in all its overuse as a cinematic device is completely appropriate.
All these elements used in the movie, sirens, Etc... Etc.. Etc.. are inseparable from the music, unlike pretty much any-other movie, the music is not layered on afterwards as some kind of afterthought, you simply can't lift this score out of its sound design or divorce it from images.
This score is woven into its very fabric of the movie in a profound & moving way that feels well balanced.
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Posted: |
Dec 26, 2017 - 11:36 AM
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By: |
stroppy
(Member)
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It seems people have a misunderstanding to what this movie is, & what Nolan & Hans. Etc, were doing!
Hans, plus others, made a decent score , the film is based on complete tension, Zimmer choreographs the film & events acting as the foundation for it narrative strands. Nolan intended for Zimmer to ramp up tension to almost excruciating levels, some think as simple as a ticking clock in all its overuse as a cinematic device is completely appropriate.
All these elements used in the movie, sirens, Etc... Etc.. Etc.. are inseparable from the music, unlike pretty much any-other movie, the music is not layered on afterwards as some kind of afterthought, you simply can't lift this score out of its sound design or divorce it from images.
This score is woven into its very fabric of the movie in a profound & moving way that feels well balanced.
I'm pleased you like it and I agree about the sound being woven into the fabric of the movie BUT, to me it is not music in the classical sense. It is more like an addition to the sound effects. I suppose it works on that level but I find it too strident and overly-loud, lacking in thematic development of any type and instantly forgettable once the movie ends. This soundscape stuff is becoming the fashion in Hollywood these days and I find it alarming and I bet there'd be quite a few cinema music aficionados who feel the same way. The soundscape approach is killing real music scoring, the concept of thematic development and discouraging young composers with real talent from even trying to apply for film work. If they present a thematic piece for assessment they get told it is too "musical"...sorry, but I find that very troubling.
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Posted: |
Dec 29, 2017 - 5:36 AM
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By: |
leagolfer
(Member)
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First off, the score was ok, I'm not a Zimmer fan, I own maybe 12 scores, so, I'm unknown about his career.
No its not a classical, orchestra, apart from Elgar's remix.
Nolan has a close relationship with Zimmer & the importance of this piece, Elgar, is British cultural life.
Hans instilled a platform that the variations have done for the British over the past century, calling his own composition variation 15 implies continuation of Elgar's original piece.
Nimrod is played at remembrance day ceremony it takes place every November in London its a big ceremony gathering, a well remembered piece.
The overall design is cool based off its sound-stage, only cellos are alive instrument, The continuation of tracks maybe a little repetitive with ticking clocks, watches, Sirens, Etc, but crafted too synths, drums, Etc, it works well because the film had little dialogues, The tracks I like are Mole, Supermarine, the Oil are quite atmospheric with touches of melody, quite abstract for a war film, Nolan intended outlining some think completely different.
My only interest is the Movie winning best picture.
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Posted: |
Jan 22, 2018 - 12:46 AM
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By: |
Dana Wilcox
(Member)
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I thought it worked pretty well in the film.
Unlistenable in CD, though.
Sorry to bump up this thread. I just got around to seeing the film this afternoon. For me, this movie was almost unwatchable -- all of the soldiers and sailors looked like the same guy, the story was disjointed and plotwise, while looking for as many little trees as it could squeeze in, completely missed the forest (the scope and drama of a massive rescue effort which saved the lives of many thousands of otherwise-doomed men). As to the score, it might be said that it "worked pretty well" with the film, but that is not much of a compliment either to the film or the score. Often too loud, making it difficult for us Statesiders to get what was being said (the British accents didn't help us much either, not a knock on the film but just sayin') and just relentlessly repetitious and atonal and irritating beyond words. I can't even imagine trying to listen to it apart from the film, it was so aggressively awful in the film. Though I am not by any stretch a Zimmer fan, his scores often do contain bits of interesting themes or melodies. I like his main theme for Netflix's The Crown for example. But Dunkirk (frequently referred to as "Dullkirk" in reviews I've read) I'm afraid is without any redeeming qualities, visual or auditory.
Other than those few things, it was great!
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Posted: |
Jan 22, 2018 - 3:49 AM
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By: |
davefg
(Member)
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I thought it worked pretty well in the film.
Unlistenable in CD, though.
Sorry to bump up this thread. I just got around to seeing the film this afternoon. For me, this movie was almost unwatchable -- all of the soldiers and sailors looked like the same guy, the story was disjointed and plotwise, while looking for as many little trees as it could squeeze in, completely missed the forest (the scope and drama of a massive rescue effort which saved the lives of many thousands of otherwise-doomed men). As to the score, it might be said that it "worked pretty well" with the film, but that is not much of a compliment either to the film or the score. Often too loud, making it difficult for us Statesiders to get what was being said (the British accents didn't help us much either, not a knock on the film but just sayin') and just relentlessly repetitious and atonal and irritating beyond words. I can't even imagine trying to listen to it apart from the film, it was so aggressively awful in the film. Though I am not by any stretch a Zimmer fan, his scores often do contain bits of interesting themes or melodies. I like his main theme for Netflix's The Crown for example. But Dunkirk (frequently referred to as "Dullkirk" in reviews I've read) I'm afraid is without any redeeming qualities, visual or auditory.
Other than those few things, it was great!
And how would you have scored the film? You must have only read the 8% of negative reviews. It has a standing of 92% on Rotten Tomatoes.
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Posted: |
Jan 22, 2018 - 5:27 AM
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By: |
Tall Guy
(Member)
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Sorry to bump up this thread. I just got around to seeing the film this afternoon. For me, this movie was almost unwatchable -- all of the soldiers and sailors looked like the same guy, the story was disjointed and plotwise, while looking for as many little trees as it could squeeze in, completely missed the forest (the scope and drama of a massive rescue effort which saved the lives of many thousands of otherwise-doomed men). As to the score, it might be said that it "worked pretty well" with the film, but that is not much of a compliment either to the film or the score. Often too loud, making it difficult for us Statesiders to get what was being said (the British accents didn't help us much either, not a knock on the film but just sayin') and just relentlessly repetitious and atonal and irritating beyond words. I can't even imagine trying to listen to it apart from the film, it was so aggressively awful in the film. Though I am not by any stretch a Zimmer fan, his scores often do contain bits of interesting themes or melodies. I like his main theme for Netflix's The Crown for example. But Dunkirk (frequently referred to as "Dullkirk" in reviews I've read) I'm afraid is without any redeeming qualities, visual or auditory.
Other than those few things, it was great!
Hi Dana
Thanks for your opinion, which, as you know, carries a lot of weight with me even when we differ. What I especially liked about your post is that you don't paint as idiots those people who do like it. That happens with Zimmer more times than any other composer, and that's what gets me into heated discussions even though I'm not a card-carrying Hans fan.
I've seen Dunkirk twice, once in the cinema and once on 4K bluray with the sound turned up as high as I judge that the neighbours will bear, and thoroughly enjoyed it both times. Thinking back, if anything started to take me out of the film it was the very slow rendering of "Nimrod", a bit of music that for reasons that don't need to be aired here is quite significant for me. The rest of the score, for this film, at this time, with these intentions by the director, suited it brilliantly, I thought.
Best
C
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Posted: |
Jan 22, 2018 - 10:26 PM
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By: |
Dana Wilcox
(Member)
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Hi Dana
Thanks for your opinion, which, as you know, carries a lot of weight with me even when we differ. What I especially liked about your post is that you don't paint as idiots those people who do like it. That happens with Zimmer more times than any other composer, and that's what gets me into heated discussions even though I'm not a card-carrying Hans fan.
I've seen Dunkirk twice, once in the cinema and once on 4K bluray with the sound turned up as high as I judge that the neighbours will bear, and thoroughly enjoyed it both times. Thinking back, if anything started to take me out of the film it was the very slow rendering of "Nimrod", a bit of music that for reasons that don't need to be aired here is quite significant for me. The rest of the score, for this film, at this time, with these intentions by the director, suited it brilliantly, I thought.
Best
C
Always a pleasure to disagree (or agree!) with you, my friend. Here we shall agree to disagree, but amiably.
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Posted: |
Feb 3, 2018 - 5:20 PM
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By: |
SchiffyM
(Member)
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I finally saw this film last night (a tremendous production, and amazing to watch, though the characters might as well have been named "Human #1," "Human #2," etc.).
At the risk of stirring up yet another unpleasant hissy fit on this board, I have to say regarding Zimmer's score that I cannot believe what insular, unimaginative ninnies so many here are. It's not that Nolan and Zimmer forgot to do a rah-rah military score, or didn't know how to do one. It's that that would have been a laughable misstep for this film.
Until the Elgar comes in at the very end, there is nothing here to provide a moment's comfort – and even scoring this with "The Rite of Spring" would have provided the comfort of a musical point-of-view. Nearly every minute is confusing, terrifying, and overwhelming for the characters. They don't get the touchstone of a tonal or even atonal score. What they get are screechy sounds, sirens, tapping.
So I admired it greatly.
That said, I didn't enjoy it. I would never listen to it on a CD.
But I wasn't supposed to enjoy it. Somebody in this thread (and, I'm sure, others) suggested that not wanting to listen to a score on CD was telling, and somehow disqualifying of its value to the film. What insular, unimaginative nonsense!
Until the very, very end, "Dunkirk" provides no comfort, nothing but anxiety and disorientation. The music supports that perfectly. I'm not surprised people find it a grating listen, but I am utterly and completely mystified that people think it was wrong for the film.
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At the risk of stirring up yet another unpleasant hissy fit on this board, I have to say regarding Zimmer's score that I cannot believe what insular, unimaginative ninnies so many here are. It's not that Nolan and Zimmer forgot to do a rah-rah military score, or didn't know how to do one. It's that that would have been a laughable misstep for this film.
Until the Elgar comes in at the very end, there is nothing here to provide a moment's comfort – and even scoring this with "The Rite of Spring" would have provided the comfort of a musical point-of-view. Nearly every minute is confusing, terrifying, and overwhelming for the characters. They don't get the touchstone of a tonal or even atonal score. What they get are screechy sounds, sirens, tapping.
Until the very, very end, "Dunkirk" provides no comfort, nothing but anxiety and disorientation. The music supports that perfectly. I'm not surprised people find it a grating listen, but I am utterly and completely mystified that people think it was wrong for the film.
What you described sounds like "Tristan und Isolde".
I just didn't like the film or music; however, you have a point.
It's interesting how many folks love "Alien" (the score), the original POTA, and "Close Encounters" (all of which have their share of uncomfortable listening), yet seem to be dismissing Dunkirk.
I have noticed that I haven't heard a single theme from Dunkirk with the weight of even the weakest from those soundtracks, which probably has one heck of a lot to do with it.
No offense meant toward fans of Zimmer (I'm one, at least a selective one, myself), nor the movie/score.
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Posted: |
Feb 4, 2018 - 12:05 PM
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By: |
lp
(Member)
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I finally saw this film last night (a tremendous production, and amazing to watch, though the characters might as well have been named "Human #1," "Human #2," etc.).
At the risk of stirring up yet another unpleasant hissy fit on this board, I have to say regarding Zimmer's score that I cannot believe what insular, unimaginative ninnies so many here are. It's not that Nolan and Zimmer forgot to do a rah-rah military score, or didn't know how to do one. It's that that would have been a laughable misstep for this film.
Until the Elgar comes in at the very end, there is nothing here to provide a moment's comfort – and even scoring this with "The Rite of Spring" would have provided the comfort of a musical point-of-view. Nearly every minute is confusing, terrifying, and overwhelming for the characters. They don't get the touchstone of a tonal or even atonal score. What they get are screechy sounds, sirens, tapping.
So I admired it greatly.
That said, I didn't enjoy it. I would never listen to it on a CD.
But I wasn't supposed to enjoy it. Somebody in this thread (and, I'm sure, others) suggested that not wanting to listen to a score on CD was telling, and somehow disqualifying of its value to the film. What insular, unimaginative nonsense!
Until the very, very end, "Dunkirk" provides no comfort, nothing but anxiety and disorientation. The music supports that perfectly. I'm not surprised people find it a grating listen, but I am utterly and completely mystified that people think it was wrong for the film.
Your post mirrors my own opinion. The movie drops us right into the thick of it. Shit just happen and we are helpless observers. This is basically cinema verite at its best. The score heightens that realism at the cost of listenability. Having melodies and themes would provide an emotional point of view and ultimately detracts from this immersive experience. When I first heard the score, I didn't like it. After seeing the movie, I still don't care for it, but I do understand why the most satisfying part comes at the end.
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