 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 26, 2023 - 8:33 AM
|
|
|
|
By: |
nuts_score
(Member)
|
Thank you once again for a measured, thoughtful and meaningful response.
Always a pleasure to read your comments.
...
Seconded
I appreciate the sentiments, gents. I certainly can sympathize with the feeling many have that this is perhaps distractingly different than what expectations for a film score may be. And, again, usually that is what has been appealing to me lately. Film scoring got remarkably boring in recent years despite many great gems to be heard.
I was already a tried-and-true fan of the Scandinavian musical magician Jóhann Jóhannsson. The day of his passing I was truly gobsmacked having to reconcile that I wouldn't get to hear brand new work from someone I had been entranced by (his record label does a great job keeping his existing work consistently released, at least). Tough day, that one. But one of his closest collaborators and co-conspirators, Miss Guðnadóttir, started to become more prevalent in this field and I felt like there was still a sound that was entrancing me. It isn't a sound that can or should appeal to all ears. And that's fine. I prefer it that way, maybe.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Nothing has been stated as to why exactly Doyle wasn't involved, has it?
Most of the conversation has been around his inability to find the scheduling around his work on the King's coronation obligations.
Yep, and that still sounds suspiciously like the standard "scheduling conflicts" excuse used in every film industry press release. The piece he wrote for the coronation is only 4 minutes long. There's almost certainly more to the story.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
.
Doyle, meanwhile, is last season's hand-me-down.
He is the old kilt that the dog has dragged through the
heather, on a wet day.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Watched the film this morning. Gorgeous photography and effects that evokes a wet, autumnal Venice and a brooding, ghostly atmosphere. Plot is typical Agatha Christie but engaging enough.
The film is sparingly scored. This is not wall to wall scoring but in my opinion Hildur Guðnadóttir's score works really well for the film, enhancing the gloomy atmosphere of the film. If you sign Hildur to score your movie than you'll get a
Hildur score. Branagh clearly wanted this soundtrack for his movie and, I suspect is less than interested in the views of soundtrack fans who find the score difficult to engage with, particulary as a standalone listen.
However, there is an excellent cue in the penultimate scene of the film at the canalside, slightly more positive in tone. It may be the 'Money In the Matresss track or maybe unreleased.
|
|
|
|
|
|
|
 |
Posted: |
Oct 2, 2023 - 9:43 AM
|
|
|
|
By: |
Tom Servo
(Member)
|
Watched the film this morning. Gorgeous photography and effects that evokes a wet, autumnal Venice and a brooding, ghostly atmosphere. Plot is typical Agatha Christie but engaging enough.
The film is sparingly scored. This is not wall to wall scoring but in my opinion Hildur Guðnadóttir's score works really well for the film, enhancing the gloomy atmosphere of the film. If you sign Hildur to score your movie than you'll get a
Hildur score. Branagh clearly wanted this soundtrack for his movie and, I suspect is less than interested in the views of soundtrack fans who find the score difficult to engage with, particulary as a standalone listen.
However, there is an excellent cue in the penultimate scene of the film at the canalside, slightly more positive in tone. It may be the 'Money In the Matresss track or maybe unreleased.
I concur with this assessment, after seeing the movie itself this weekend. The tone and approach of Hildur's score makes so much more sense after seeing the movie, it absolutely helps set a claustrophobic, melancholy and intimate scale required by this adaptation. Of course Doyle has the talent to provide any score that's needed, so who knows why this decision was made, but both me and my girlfriend (who is admittedly a Hildur fan!) agreed that the score for this film is exactly what it needed and it doesn't detract from it in the slightest.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
However, there is an excellent cue in the penultimate scene of the film at the canalside, slightly more positive in tone. It may be the 'Money In the Matresss track or maybe unreleased.
That cue is unreleased. Check out my interview with Hildur in the upcoming October issue of FSMO to find out why.
-------
Will do...for sure......
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
