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It's really beautiful.
The movie is so bad; this music is too good for it.
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WOW, what a HARSH critic on the music. So basically what he did or was supposed to do, he did wrong, in this critics eyes. I've heard the samples and I like what I hear. Are critics wanting music to not be noticed at all and when it is, do they think it's overbearing or something?
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It's really beautiful.
The movie is so bad; this music is too good for it.
yeah, too bad is right
(have not seen it)
the dvd will feature a replacement score by James horner
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And that's why critics have been shitting on the music left and right. 
I didn't realize that was widespread. I did notice that Lisa Schwarzbaum spent the last two paragraphs of her review trashing the score:
http://www.ew.com/ew/article/0,,20314421,00.html
Seemed kind of unusual. I mean, I don't think Pauline Kael ever had a kind word to say about Max Steiner, but she'd get it over with in a sentence or two.
I don't think this critic was so much 'trashing the score' as she was showing what a clever writer she believes she is. I have no intention to see this film. I know the true story. I find the lead unattractive - not physically, but for lack of talent.
I have yet to hear the score... Yared has his successes and has his duds... I only hope that the opinions posted here about his music prove true.
And I suspect more people know the name 'Gabriel Yared' than ~Lisa Schwarzbaum~.
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Posted: |
Nov 7, 2009 - 7:51 PM
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By: |
Mr. Jack
(Member)
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Are critics wanting music to not be noticed at all and when it is, do they think it's overbearing or something?
Unless it's Bernard Herrmann, all critics sniff at highly melodic music that's prominently featured in the movie's sound mix, thinking that if the music is working overtime, it's usually because the movie can't generate the proper emotional response by itself, which I just plain don't get. Why have music at all if it's not going to make any sort of impression from a musical or dramatic standpoint? I have not seen Amelia, but why should a genuinely well-written film score have to go down with the ship if the film it's attached to sucks? Not that every movie requires a swooning Max Steiner/John Williams orchestral sound, but a movie about the freedom of flight should not have timid, stay-out-of-the-way music. If Superman were made today with the same score (highly unlikely, but just to make a point), the flying sequence score would get eviscerated by critics. 
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Are critics wanting music to not be noticed at all and when it is, do they think it's overbearing or something?
Unless it's Bernard Herrmann, all critics sniff at highly melodic music that's prominently featured in the movie's sound mix, thinking that if the music is working overtime, it's usually because the movie can't generate the proper emotional response by itself, which I just plain don't get. Why have music at all if it's not going to make any sort of impression from a musical or dramatic standpoint? I have not seen Amelia, but why should a genuinely well-written film score have to go down with the ship if the film it's attached to sucks? Not that every movie requires a swooning Max Steiner/John Williams orchestral sound, but a movie about the freedom of flight should not have timid, stay-out-of-the-way music. If Superman were made today with the same score (highly unlikely, but just to make a point), the flying sequence score would get eviscerated by critics.
Wonderfully put, I agree, especially with Superman, they would HATE IT and bad mouth it so much. I like soaring music and I wish more films had it, other than that sound design stuff that's in the background. It's like, what's the point of that, having one note being played for like 10 minutes, that's music, if it is, oh Lord, help us all.
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Are critics wanting music to not be noticed at all and when it is, do they think it's overbearing or something?
Unless it's Bernard Herrmann, all critics sniff at highly melodic music that's prominently featured in the movie's sound mix, thinking that if the music is working overtime, it's usually because the movie can't generate the proper emotional response by itself, which I just plain don't get. Why have music at all if it's not going to make any sort of impression from a musical or dramatic standpoint? I have not seen Amelia, but why should a genuinely well-written film score have to go down with the ship if the film it's attached to sucks? Not that every movie requires a swooning Max Steiner/John Williams orchestral sound, but a movie about the freedom of flight should not have timid, stay-out-of-the-way music. If Superman were made today with the same score (highly unlikely, but just to make a point), the flying sequence score would get eviscerated by critics.
It was.... if you mean the poetry reading sequence in the sky. It was considered quite laughable in its day.
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Posted: |
Nov 7, 2009 - 9:32 PM
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By: |
SchiffyM
(Member)
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Beautiful, well-written music can ill-serve a movie that can't live up to the score's potential. Powerful music can lift a scene that's promising, but if that scene is leaden, soaring music just underlines the film's problems. It's one of the most counterintuitive aspects of film composition. Certainly, the solution is not to write bad music, though simply going less dramatic can help, since the gulf between what the filmmakers aspired to and what they achieved is not so great. But it's hard to fault Yared for good composing!
(I'm guessing this was what doomed Elfman's "Wolfman," by all accounts a stinker of a movie. I imagine he wrote a grand, serious, gothic score that merely served to point up the ineptitude of the production.)
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Posted: |
Nov 7, 2009 - 11:44 PM
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By: |
Hester_Prin
(Member)
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Beautiful, well-written music can ill-serve a movie that can't live up to the score's potential. Powerful music can lift a scene that's promising, but if that scene is leaden, soaring music just underlines the film's problems. It's one of the most counterintuitive aspects of film composition. Certainly, the solution is not to write bad music, though simply going less dramatic can help, since the gulf between what the filmmakers aspired to and what they achieved is not so great. But it's hard to fault Yared for good composing!
(I'm guessing this was what doomed Elfman's "Wolfman," by all accounts a stinker of a movie. I imagine he wrote a grand, serious, gothic score that merely served to point up the ineptitude of the production.)
As always.... sometimes the best thing about a film is the score.. for which I am thankful... that some how duds such as 'Legend' produced Goldsmith's masterful soundtrack. Years and years ago the common complaint was why he was not picking better films... somehow I think he simply enjoyed 'movies' and while his music could not turn a sow's ear into a silk purse, beautiful music happened.
Jean Cocteau trusted Georges Auric to score his BEAUTY & THE BEAST, never listening to a note of the music until it was placed in the film. Auric on the other hand had a philosophy that was counter-Hollywood: he did not enchance the obvious visual or emotion on the screen with music since he felt it did not need it. Of course I have often felt that Auric's music never matched the film... seeming out of place more often than not.
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Just got back, I was the last one in the smaller theater. Me and the entire cast of Cocoon. There must have been about 7 OLD couples. I had to giggle at that. The score is wonderful, soaring, but not too much. That critic that lambasted the score, I feel, he likes music there, but not really heard. I found the film interesting, of course the most interesting is the last little bit with her mystery, sadly, but it's true. I did learn a few NEW things about the gal so I may do some extra reading on the net to uncover more about her. I would most likely have to say, she went down in the Pacific and either died on impact, or held onto the plane until she drowned, sad, but true, I'm afraid.
It was shot beautifully of course and I swear Hilary looks a lot like her. The film was good, but just didn't have that "extra" thing in it, that I think, it should win really any awards. I do hope the score is up for an Oscar.
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Well that's about right- music wallpaper with no themes or simply guitar ditties get the critics all salivating (I was going to use a more provocative word but this is a family forum after all) and bold, overt melodic music makes them cringe and rip the composer a new one. It's a real sad state of affairs in the world of cinema these days. Really.
The only saving grace is Village Voice's review of There Will be Blood where they lauded Greenwood's score. It was actually and amazing review too.
Dave
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I haven't yet heard any clips but, from reading the EW review, it sounds like the author's opinion of the movie translates into her opinion of the music. An understandable conclusion; even though the film and the score should each stand on their own, they ARE intertwined...
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Posted: |
Nov 10, 2009 - 7:51 PM
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By: |
Hester_Prin
(Member)
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Just got back, I was the last one in the smaller theater. Me and the entire cast of Cocoon. There must have been about 7 OLD couples. I had to giggle at that. The score is wonderful, soaring, but not too much. That critic that lambasted the score, I feel, he likes music there, but not really heard. I found the film interesting, of course the most interesting is the last little bit with her mystery, sadly, but it's true. I did learn a few NEW things about the gal so I may do some extra reading on the net to uncover more about her. I would most likely have to say, she went down in the Pacific and either died on impact, or held onto the plane until she drowned, sad, but true, I'm afraid.
It was shot beautifully of course and I swear Hilary looks a lot like her. The film was good, but just didn't have that "extra" thing in it, that I think, it should win really any awards. I do hope the score is up for an Oscar.
Swank doesn't look anything like the titular character. And her story has been told in one form or another on PBS.... the so-called mystery never fully solved though many have claimed to have found bits or wreakage etc. on tiny islands- none of which panned out. She and her co-pilot had an agressive plan, and it failed and she went down. Possibly she and Jimmy Hoffa are playing canasta in Sheboygan as I type.
I listened to the Yared samples on line- impossible to tell the quality of score. I like the man's work... but not all of it by far. His two stand outs remain The English Patient and Possession. Sylvia was incredilbly unmemorable.
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