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Although I never cared for the film (I didn't like ANY of the characters) I think Craig Armstrong did an incredible job with his score and adaptations.
To my mind, the score is too good for the film.
But playing it on it's own, I can hear and feel a film that involves me so much more. His scoring adaptations of the Lana Del Rey song are gorgeous. Thanks Mr A.
No one can dance in and out of songs quite like Armstrong. From Romeo + Juliet to Moulin Rouge and this, his strings and piano just break my heart. I often play his Childhood track just to mellow out, it's so soothing.
I'm on a Craig A kick as I gear up to see him in Prague in a few weeks.
Share the love.
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You are absolutely correct about CA's fantastic work.
You are absolutely wrong about the film. A stone cold masterpiece. The best film of the decade, so far!
brm
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Yes, a really gorgeous score from Craig Armstrong who is severely underrated imo. Always worth listening to his work.....
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I've been playing this CD to death since I got it.
Dream Violin is sublime.
The three cues where he incorporates the Lana Del Rey song are truly goyjus.
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Posted: |
Apr 5, 2017 - 5:12 AM
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By: |
Jim Phelps
(Member)
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Feel the prejudged love:
http://filmscoremonthly.com/board/posts.cfm?threadID=93711&forumID=1&archive=0
like i said...
reactionaries!
LOL!
And by calling them conservative, I was being kind! Ha! Though to be fair, there are some positive appraisals of the Luhrmann film in that thread.
As for the linked topic, our esteemed John B. Archibald gets to the core of the apple with this perfect distillation of The Great Gatsby:
For me, the novel of "The Great Gatsby" embodies the eternal yearning of Americans to rise from their humble beginnings, and find success and love, not necessarily in that order. But, as Fitzgerald points out, no matter what we reach for, we will always be anchored by our beginnings, which keep affecting our choices and consequent behavior.
Fitzgerald's famous last line: "So we drift, boats agains the current, borne back ceaselessly into the past."
Well stated, old sport. 
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Ahhhh....Boats Against The Current and Daisy's Theme. The lovely last track on the CD.
I admire your devotion to this thread Jim
I've never read the source material, but for me, these days especially, I need an IN to engage and feel with and for characters (in books, films and TV), so I imagine the cold fish or wet fish aspects of the main characters in this would wind me up.
I might watch this film again, when it's shown on telly soon. I imagine the missus might enjoy it more than I did.
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I'm in work, so I can only see a little x in a box in Jim's post above, but in my mind's eye, I can see old Leo Dio with a glass in his hand, toasting to beautiful film scores!
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Every time a film score fan complains about music in a film being anachronistic I want to tear out what little hair i have left!
So, in PAT GARRETT AND BILLY THE KID.....it would have worked so much better had they used "camptown Races"
"i Dream of Jeannie" or "Streets of Laredo" instead of one of the best songs Bob Dylan ever recorded?
Speak up, I can't hear you!
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Period piece films are reflective of the times in which they are made, not the time in which they are set. This happens whether intended or not.
Me? I love me a bouffant on a 1960s barmaid in a Leone western (which, as everyone knows, aren't really westerns).
how would you know if they had bouffants in the 1880's?
ru a hairdresser
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Posted: |
Apr 8, 2017 - 4:19 AM
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By: |
Jim Phelps
(Member)
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Although I never cared for the film (I didn't like ANY of the characters) I think Craig Armstrong did an incredible job with his score and adaptations.
To my mind, the score is too good for the film.
But playing it on it's own, I can hear and feel a film that involves me so much more. His scoring adaptations of the Lana Del Rey song are gorgeous. Thanks Mr A.
No one can dance in and out of songs quite like Armstrong. From Romeo + Juliet to Moulin Rouge and this, his strings and piano just break my heart. I often play his Childhood track just to mellow out, it's so soothing.
I'm on a Craig A kick as I gear up to see him in Prague in a few weeks.
Share the love.
Watched this last night--has it really been four years since this film was released? I guess it has.
Despite all the hype about the film's use of pop songs and hip hop, plus all the faux, prejudged, reactionary rage around this place, there is tons o'underscore to be heard throughout Baz Luhrmann's vibrant take on The Great Gatsby. This is especially apparent within the film's first half hour, before we even really see Jay Gatsby and learn of his motivations, and we are treated to beautiful underscore throughout the film.
Musically, the film feels like a true collaboration or "team effort." The pop songs flit in and out of the film like Tom Buchanan at a brothel, but Craig Armstrong's wonderful underscore and adaptations(were they arranged by him?) of Gershwin and the like make him the dominant musical force in this film.
What was it again that some of you were bleating on about again? Give the film another try, and this time--listen.
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He co-wrote the Nero song Jim.
I don't know what involvement he had with the Jay-Z and Co stuff.
He incorporates so many little nods within his score - all meticulously noted in the score CD booklet - but his string sound is so unique and in his own style, it's hard to know where one ends and the other begins.
He quotes Still by Lionel Ritchie a lot, but I can't quite hear the quote, even though I am well familiar with the song.
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