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Thought this was a complete misfire. Sixty-plus years after THE MAN WHO NEVER WAS, it's disappointing to see the story embroidered with highly fictionalised elements, as if the truth isn't compelling enough to begin with. Also, for a film that's essentially about the importance of verisimilitude -- the script even mentions that word -- it's ironic that the film itself seems so artificial.
As for the perfunctory score, Thomas Newman continues to deny us his full potential for reasons best known to himself.
Haven't seen the new one yet, but wasn't the whole episode of the spy in England totally made up for the original film?
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Thought this was a complete misfire. Sixty-plus years after THE MAN WHO NEVER WAS, it's disappointing to see the story embroidered with highly fictionalised elements, as if the truth isn't compelling enough to begin with. Also, for a film that's essentially about the importance of verisimilitude -- the script even mentions that word -- it's ironic that the film itself seems so artificial.
As for the perfunctory score, Thomas Newman continues to deny us his full potential for reasons best known to himself.
Haven't seen the new one yet, but wasn't the whole episode of the spy in England totally made up for the original film?
Absolutely, which was why I was hoping a new take on the story wouldn't find it necessary to contrive elements as well. The book is gripping enough.
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Posted: |
May 18, 2022 - 7:06 PM
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By: |
SchiffyM
(Member)
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As for the perfunctory score, Thomas Newman continues to deny us his full potential for reasons best known to himself.
I found the movie frustratingly ordinary, but I admired the score a whole lot more than you did. To me, the film was too glossy, too stagey, but while Newman's work is certainly far from his most compelling album, I felt it did exactly what it should have done in the movie.
He wasn't scoring heroism, or patriotism, or romance, or any of the things a more melodic score might. Instead, he scores the sense of dread hanging in the air, the nervous activity of military strategizing, the unease they all feel taking such a long shot with a corpse. It is emotionally neutral, as it should be, all agonizing waits. He denies us the comfort of a recognizable melody. Even when the plan works, it is not a celebration but a muted recognition of one achievement on the long road to victory.
I can't imagine an approach that would have worked better for this film.
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What's holding up the CD release? It's been a while...
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After a few more play throughs, I'm finding myself more and more quietly impressed by this score (well, parts of it).
Like TOLKIEN, it's a slow-burner that rewards further listening and inspection.
Of course, it's typical Thomas Newman, so people put off by his more ambient/barely there noodles of recent times need not apply.
It's very much atmosphere over themes (although it does warm up nicely a few times).
I made mincemeat of the CD and sliced off a whittle, which goes something like this...
2. Iris [1:20]
3. Room 13 [1:44]
7. Single Diamond Ring [2:12]
9. Gulf of Cadiz [5:00]
12. Last Lovely Golden Day [2:32]
14. Toast [0:49]
16. Dull as Ditchwater [1:00]
21. Officer in the Royal Marines [1:55]
22. Dangerous Waters [1:35]
27. Limited Casualties [2:43]
28. Fallen Soldier - James Morgan [1:56]
29. Personal and Most Secret [3:06]
A rather spiffing 26 mins run time (approx).
I'll try that out, but I'll probably forget that music is even on after a minute, like most Newman scores anymore. I usually perk up when I hear him reuse some electronic instrument for the millionth time. "Oh, that's from Nemo" or whatever.
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