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Yes, it sounds like a meditation for violin and cello.
Very sombre and spare.
It will be interesting to hear how it works with the story and visuals.
A world away from a Patrick Doyle score, but also different from a generic chugga-chugga Remote Control effort.
A world away from a Patrick Doyle score, but also different from a generic chugga-chugga Remote Control effort.
Which is how it should be all the time, ideally. Different composers, different artistic voices.
Completely agree.
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I wasnt talking about the style of the score.
Different as in different personal voices, not the same dish with different names that is Remote Control Productions (there are exceptions there, of course). Is the despersonalization of the composer what bothers me about that company. It seems like library music signed by different people, that sounds alike.
There isnt really anything very different (stylistically) or groundbreaking about an organic, chamber like, meditative score, performed by a small ensemble, and recorded with little to no processing. But it doesnt need to be. The end result and its execution seems (to me), lovely, and Hildur personal style shines trough, albeit in a more organic/traditional context than previous works. Let not forget, that despite her liking for electronic and experimental music, she is classically trained, and so has the ability to write more traditional scores.
As for reverb, is pretty common to turn it up today, specially in moody or fantasy scores, so she has a point in my book.
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I applaud her decision to keep it to a chamber group. Some neat bass clarinet overtone blowing which sounds moody. I'm just surprised at the amount of unison/8ve doubling for such a small group. But hey, that's just a personal observation. Clearly the filmmakers liked it.
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Posted: |
Sep 15, 2023 - 6:15 PM
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By: |
Erik Woods
(Member)
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I wasnt talking about the style of the score.
I see... sorry for the misunderstanding.
Let not forget, that despite her liking for electronic and experimental music, she is classically trained, and so has the ability to write more traditional scores.
See, even this score doesn't seem to be any sort of stretch for her. It's either something with a cello in it, or ear-splitting electronic experimentation. I'm waiting for her to really stretch her wings like any good film composer. Right now she's in the "Ok, you can do that well, but what else ya got?" phase.
As for reverb, is pretty common to turn it up today, specially in moody or fantasy scores, so she has a point in my book.
Sure, but chamber music isn't really reverb heavy, is it? I just find it funny that something like that was mentioned as if it was something special! It's something Zimmer might have said.
-Erik-
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Posted: |
Sep 15, 2023 - 6:38 PM
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By: |
ShadowStar
(Member)
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I saw the film today. Visually, it was beautiful -- it made stunning use of the location and sets. I'm so glad that I went to see this on the big screen!  I think that the third act of the film was rather weak, but I enjoyed much of what came before. It was all very eerie and foreboding -- perfect for Fall and Halloween.
I will make mention of the fact that so many changes were made, in adapting it from the source material. I won't discuss those specific changes here, because of spoilers, but I think that many of those changes were to the plot's detriment here. The reason that the ITV adaptation of Halloween Party with David Suchet holds up is perhaps down to the fact that it preserves and makes excellent use of some macabre and downright disturbing and tragic twists that were in Agatha Christie's original story (without overdoing them when executing them for that adaptation). It's too bad that so many of those plot strands were jettisoned in Branagh's version -- the result is that some characters just aren't as interesting in this loose adaptation of the story. There is always a case to be made for making changes to the source material, as that's part of the fun with adaptations, but in this instance, I really feel disappointed that those changes did not allow this movie to improve upon the 2010 version. Still, I like it for what it is. I'm definitely going to watch it again on streaming. Again, there are plenty of visual flairs that make this an engrossing experience.
The score, though not as creepy as Christian Henson's score for the 2010 TV episode, was still very good in some scenes!
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This is definitely a score hardly ever made for a major movie these days, and Branagh is one of the very few who demand great and fitting music for movies.
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Saw the film yesterday afternoon and it's the best of Branagh's Poirots (so far): the others had to compete against the previous all-star versions and didn't measure up, whilst this was from a relatively unfamiliar source novel. Even then they did a Moonraker on it: kept some of the character names, threw the rest of the book away and then fashioned a substantially new story.
The biggest problem is the terrible, terrible score: it doesn't enhance the film at all (indeed, it detracts from it) and a miserable listening experience on its own. Granted, the showtunes approach of Evil Under The Sun would have been equally inappropriate but couldn't they have found a middle ground somewhere? Hell, they were in Venice - go round to Pino Donaggio's house!
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I enjoyed the film more than I expected to, partly out of relief that he didn't simply remake Evil Under the Sun. Considering what a botch Branagh made of both Sleuth and Orient Express (Death on the Nile, though not great, was a big improvement - but obviously not on the '78 film), I'm also relieved he hasn't remade Family Plot of Last of Sheila, my all-time 70s mystery movie faves.
On the other hand, I haven't read the source novel (Hallowe'en Party) probably since the 1970s, but looking at the Wiki synopsis it seems like it's only connection to A Haunting in Venice are Tina Fey's character, a Halloween party, bobbing for apples and some character names. Seems strange to "adapt" a work by one of the all-time great mystery novelists and make up your own new mystery.
My enjoyment of the film probably wasn't hurt by the fact that Michele Yeoh may be my favorite current movie star (since Michael Caine is quasi-retired).
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