|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I have a lot of Horner CDs from throughout his career, going back before "Star Trek II" and "Brainstorm," and after reading some very positive comments above about "Enemy At The Gates," decided to sample some of the cues. But it struck me as mainly the typical angst I had heard too many times already. And when I bought the DVD (because of my admiration for both Joseph Fiennes and Jude Law), the music hadn't captured my attention then either. So I think I'll pass on that one.
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Feb 26, 2014 - 6:15 AM
|
|
|
By: |
Tall Guy
(Member)
|
I actually quite like the film (although I agree it's got some dodgy accents and cornball moments). I especially like the opeing 30 minutes or so, featuring the train journey, river crossing, Stalingrad battle and the first sniper sequence in the fountain. Also agree that the CD outstays it's welcome, but the opening and closing cues are fantastic and there are some good moments in between. I've only seen it the once but quite enjoyed it. It's the proverbial game of two halves. I found the first bit to be startlingly atmospheric and redolent of what I'd expect the build up to the Battle of Stalingrad to really have been like. Some nice touches involving the politics and propaganda of the situation. Then it morphed into a typical boy meets girl, boy loses girl, boy shoots Germans story that I found slightly jarring. Would like to see it again at some stage to see if the above is strictly fair. I enjoy the score when I think to listen to it, which is every couple of years or so. I feared that it would include swathes of Shostakovich's 7th ("Leningrad, Stalingrad, what's the difference?") but was pleased when it didn't. I'm aware that I'm damning with faint praise. TG
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Aug 9, 2014 - 9:03 AM
|
|
|
By: |
KevinSmith
(Member)
|
I actually quite like the film (although I agree it's got some dodgy accents and cornball moments). I especially like the opeing 30 minutes or so, featuring the train journey, river crossing, Stalingrad battle and the first sniper sequence in the fountain. Also agree that the CD outstays it's welcome, but the opening and closing cues are fantastic and there are some good moments in between. I've only seen it the once but quite enjoyed it. It's the proverbial game of two halves. I found the first bit to be startlingly atmospheric and redolent of what I'd expect the build up to the Battle of Stalingrad to really have been like. Some nice touches involving the politics and propaganda of the situation. Then it morphed into a typical boy meets girl, boy loses girl, boy shoots Germans story that I found slightly jarring. Would like to see it again at some stage to see if the above is strictly fair. I enjoy the score when I think to listen to it, which is every couple of years or so. I feared that it would include swathes of Shostakovich's 7th ("Leningrad, Stalingrad, what's the difference?") but was pleased when it didn't. I'm aware that I'm damning with faint praise. TG Aren't all communists the same?
|
|
|
|
|
|
|
|
|
|
|
|
BETWEEN INTELLIGENCE AND SENSITIVITY: TWO DISSECTED UNTRUTHS According to the dictionary of the French language Le Littré, untruths are "words expressing a sense being contrary to that we want to be heard." These words are sentences we have identified on the Internet which claim that James Horner is inspired lazily or without valid reasons by recent compositions: A – The theme of Troy (2004) is copied from David Arnold's Stargate (1994). B – The theme of Enemy At The Gates (2001) is copied from John Williams' Schindler's List (1993). In the Dictionary of Pedagogy by Ferdinand Buisson (1887), Ludovic Carrau explained that there are cases where the judgment is so obvious that "it is made itself;, the reflection may not be absent, but it is limited to exactly design the terms and put them in front of each other; their suitability or unsuitability immediately appear." Here we would like to suggest that the associations Troy/-Stargate and Enemy At The Gates/-Schindler's List are based on a judgment that was made too quickly. The combination was so obvious to some people that a prolonged reflection was not necessary. It could have been though. Here' is why. Read more: http://jameshorner-filmmusic.com/between-intelligence-and-sensitivity-two-dissected-untruths/
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|