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Aside from a technically virtuoso crash sequence, I was really let down on this movie; especially since John Patrick Shanley's script (what remained of it in the final cut) did justice to the perseverance and sacrifice of the living and the dead of this horrific incident.
But director Frank Marshall brought a Hollywood action movie's sensationalism and spectacle to it, and with JNH's music having the same tone, the script and the execution were moving in incompatible directions.
This material, both film and score, required a tone-poem feel for the natural setting, a spare sentimentality for the deaths of the marooned crash victims and the interrelationships of the survivors, and a brash (but hightly selective) majesty for the expeditions and heroics that ultimately preserved the survivors.
We got little of this. With the composer going for majesty from the outset, and the director insisting on a "big score" feel throughout, it turned out that literally nothing in the movie came off as majestic, save some of the photography. The score should have built with the story.
We got too much Hollywood direction, when a more documentary-influenced style would have served the real-life setting better, and a score that sounds like Waterworld. Both wildly inappropriate for this material.
A far better adaptation awaits.
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CD 1
20. Carlito’s Birthday (0:41)
...Brigante? 
"Joor Carlito Brigante, mang! Joor a LEG-END...!"
"I can't walk, I can't HUHHMP."
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Also, I miss this JNH sound and recording quality.
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"Joor Carlito Brigante, mang! Joor a LEG-END...!"
"I can't walk, I can't HUHHMP."
"I got diapers, man, diapers!"
"It's not what you think! It wasnt even turned ohhn. It's something else, man!"
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Posted: |
Jan 17, 2020 - 4:00 PM
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By: |
Solium
(Member)
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Aside from a technically virtuoso crash sequence, I was really let down on this movie; especially since John Patrick Shanley's script (what remained of it in the final cut) did justice to the perseverance and sacrifice of the living and the dead of this horrific incident.
But director Frank Marshall brought a Hollywood action movie's sensationalism and spectacle to it, and with JNH's music having the same tone, the script and the execution were moving in incompatible directions.
This material, both film and score, required a tone-poem feel for the natural setting, a spare sentimentality for the deaths of the marooned crash victims and the interrelationships of the survivors, and a brash (but hightly selective) majesty for the expeditions and heroics that ultimately preserved the survivors.
We got little of this. With the composer going for majesty from the outset, and the director insisting on a "big score" feel throughout, it turned out that literally nothing in the movie came off as majestic, save some of the photography. The score should have built with the story.
We got too much Hollywood direction, when a more documentary-influenced style would have served the real-life setting better, and a score that sounds like Waterworld. Both wildly inappropriate for this material.
A far better adaptation awaits.
Yeah, seems like an awkward way of telling this specific story. Kinda in bad taste. (No pun intended!)
Never saw the film, so I can at least enjoy the score without any outside influences.
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Mine arrived yesterday, in a nice little bundle, with some other goodies.
Not gonna be able to listen properly until the G-kids are returned on Monday, but I can't wait to get stuck into this and Rooster Cogburn and Dolores Claiborne and Les Voleurs de la Nuit in the coming week.
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