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As far as comparing what little bit of music is even said to be in Tár, versus Jerry Goldsmith's Planet of the Apes... well it is a silly comparison, no? Planet of the Apes is a very specific type of movie. A Science Fiction Fantasy parable which featured men and women in elaborate makeup to make them appear as apes against the backdrop of rousing adventure and themes like race, migration, authoritarian control, etc et al (talk about "WoKe!"). It requires a certain texture of music. Tár is about an accomplished and acclaimed woman dealing with the fallout from her personal actions and views which has affected others. It is a character drama based in a relatable reality. And it required its own certain texture seperate from what a Sci-Fi asks for.
I don't even understand how you would compare them musically other than to tell other people you also like Jerry Goldsmith and are upset that a fictional character doesn't like him as much as you.
Apparently, you skipped the first half of my post and went right to the part about Goldsmith...
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finally got around to seeing this film. Interesting. The first act was incredible. Really great. The Goldsmith line was, as many have said, innocuous. I loved the music philosophy and analysis in the early part of the film. I think it loses its focus and by the third act, the vagueness of some events only eluded to served to lessen the dramatic impact of the character's fate IMO.
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Well, I hated every minute of it - pretentious twaddle. At this point in time. I'm a bit bored by Ms. Blanchett and I'm certainly bored of every film she's in serving as Oscar bait. As to the "score" - no. I don't need soundscapes or low notes on the cello. I need a score that actually functions as film music, but I haven't heard one of those in a very long time, save for John Williams and occasionally a foreign composer who's allowed to actually do their job.
I remember the raves this person got for Joker - and then I saw Joker. As I said at one of Henry Stanny's film music concerts I hosted - I turned to our wonderful cellist, Circe Diaz, and I said, "Play me a C# and a C low on the cello. She bowed that and I turned back to the audience and said, "Joker." Of course it was an Elmer Bernstein concert and there is someone who knew what movie music's purpose was.
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I turned to our wonderful cellist, Circe Diaz, and I said, "Play me a C# and a C low on the cello. She bowed that and I turned back to the audience and said, "Joker.".
Bullseye! There lie the remains of Hurdy Gurdy's "score".
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Well, I hated every minute of it - pretentious twaddle. At this point in time. I'm a bit bored by Ms. Blanchett and I'm certainly bored of every film she's in serving as Oscar bait. As to the "score" - no. I don't need soundscapes or low notes on the cello. I need a score that actually functions as film music, but I haven't heard one of those in a very long time, save for John Williams and occasionally a foreign composer who's allowed to actually do their job.
I remember the raves this person got for Joker - and then I saw Joker. As I said at one of Henry Stanny's film music concerts I hosted - I turned to our wonderful cellist, Circe Diaz, and I said, "Play me a C# and a C low on the cello. She bowed that and I turned back to the audience and said, "Joker." Of course it was an Elmer Bernstein concert and there is someone who knew what movie music's purpose was.
Ha! I was there! Great moment.
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Plenty, both positive and negative, has been said about the film, its score, and its composer. And then the Varese/Goldsmith comments.
I'll only add what no one else has: If you really want to hear Varese's influence listen to Frank Zappa's orchestral music. The Zappa/LSO CD combines all of the selections from the 2 LPs that were released from these Kent Nagano-conducted sessions. Two of my favoriyes from this CD are "Strictly Genteel" and "Sad Jane."
Zappa had his own style--very much so--but Varese was an obsession of his since he was a kid. He even wrote Varese a letter and got a reply when he was a kid.
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