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Posted: |
Nov 21, 2019 - 3:19 PM
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By: |
Thor
(Member)
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No, it's quite bizarre how you want to talk about whether or not this is the best drama score of 2019 (that and ONLY that), but apparently talking about the general merits of the film and score is forbidden. How can you say whether it's the best drama score of 2019 without talking about its general merits? How is that even possible? What, exactly, do you envision here? People just answering 'yes' or 'no' to the question posed? As to the topic at hand, no, I don't think it's the best drama score of 2019. I have several other drama scores that are more likely candidates for me: PARASITE, DOLEMITE IS MY NAME, A HIDDEN LIFE, SWOON, THE WHITE CROW, for example. But I'll probably get a digital promo of the score; I quite like several of the samples here. Although -- and I can't stress this often enough -- it's NOT ON THE LEVEL OF RUSH!
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Who 8s Thor arguing.with?! I feel like I'm listening to one part of.a phone.conversation. Lol
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Michael Bay- now there's av" visionary"! Right Thor?
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Posted: |
Nov 21, 2019 - 8:02 PM
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By: |
Spinmeister
(Member)
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Well, feel free! I’m not interested in disabusing you of your opinion of the score’s merits in the film or in comparison to other 2019 entries; just the opinion itself. Obviously I like the score. I like it quite a lot; the film too. Both fondly remind me of how they used to make ‘em in the old days. As for my own opinion: I applaud Beltrami for not approaching Ford v Ferrari as some glorified Budweiser commercial or big screen video game. His score won me over by not over-sensationalizing the racing sequences, by not monopolizing the mis-en-scène with obnoxious theatrics that would have drawn attention to himself, the composer, and away from the character drama unfolding behind the wheel (like what’s his name … Herr über-Komponist …). I also applaud him for his unironic, jocular take on the mid-60s time period and the air of competitive spirit it evoked. That, plus the low wattage, silvery voice he gave to the mystique of speed demonstrated that Beltrami respected that the dramatic focus of the film was on its characters and their dreams of success, not their fast, shiny cars.
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