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Posted: |
Sep 2, 2024 - 12:51 AM
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By: |
Lokutus
(Member)
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https://www.musicbox-records.com/en/cd-soundtracks/14964-the-talented-mr-ripley-25th-anniversary-expanded-edition.html
A 2-CD set.
Newly remastered and expanded edition.
16-page CD booklet with liner notes by Daniel Schweiger.
Limited Edition of 2000 units.
In collaboration with Warner Chappell Music, Sony Music and Paramount Pictures, Music Box Records proudly presents the remastered and expanded edition of Gabriel Yared’s score for the 1999 thriller The Talented Mr. Ripley, starring Matt Damon, Jude Law, Gwyneth Paltrow, Cate Blanchett and Phillip Seymour Hoffman, as written for the screen and directed by Anthony Minghella (The English Patient, Cold Mountain, Breaking and Entering).
Nominated for five Academy Awards (including Best Original Score, Best Supporting Actor and Best Adapted Screenplay), this movie about a desperately murderous quest for identity, class and love was based on the most notorious character created by author Patricia Highsmith (Strangers on a Train). Previously adapted as Purple Noon with Alain Delon, Anthony Minghella’s version gave a new, tragically vulnerable take on the character, who insinuates himself among jazz loving expatriates (Jude Law and Gwyneth Paltrow), only to kill the brother he’d always wanted and assume his identity, all while trying to keep his illusion of innocence at any cost.
Taking his lush Oscar-winning approach for The English Patient in a new direction to capture both the beat jazz era of the film’s 1959 setting alongside a multi-thematic approach that plays both Ripley’s increasingly psychotic quest for the good life and the wounded, child-like boy that yearns for love and purpose. The score combining striking orchestral melody with suspenseful rhythm, eerie female voices and the music of a dark lullaby (as personified by its title song by Sinéad O’Connor), The Talented Mr. Ripley is a masterpiece of dark romance and suspense that’s a highlight of Yared’s acclaimed collaborations with Anthony Minghella.
Celebrating the film's 25th anniversary, this new expanded edition, supervised by Gabriel Yared, has been assembled and remastered from the recording session elements. Disc 1 ("The Film Score") presents the expanded film score with previously unreleased cues. Disc 2 ("The Extras") presents excerpts from the original Sony album, Yared’s demo cues and numerous instrumental tracks that highlight the alternative presentations and edits of the score. The CD comes with a 16-page booklet with liner notes by Daniel Schweiger, who discusses the film and the score including new comments by Gabriel Yared on his career-defining work with Anthony Minghella and film editor Walter Murch. The CD release is limited to 2000 units.
DISC 1 - THE FILM SCORE
1. Lullaby for Cain (3:30)
Performed by Sinéad O'Connor
2. Italia (0:50)
3. I Hate You (0:50)
4. No, I Like Him (0:54)
5. Italia (Part 2) (1:00)
6. Promise (1:11)
7. Syncopes (2:08)
8. Marge Maintenance (1:29)
9. Silvana’s Body (1:23)
10. Last Trip (2:26)
11. Heartbreak (1:47)
12. Lost Love (1:16)
13. Cain & Abel (2:51)
14. Syncopes (Part 2) (1:01)
15. Mischief (1:54)
16. Opera Intermission (1:50)
17. Meredith Meets Marge (1:58)
18. As If That Makes Sense (1:51)
19. Killing Freddie (2:17)
20. Dumping Freddie’s Body (2:08)
21. Syncopes (Part 3) (1:27)
22. Ripley (3:38)
23. Nightmare/Dickie’s Rings (0:59)
24. Suitable Instrument (0:42)
25. You’re Shivering (2:12)
26. Just Kidding (1:17)
27. Huis-clos (1:06)
28. Syncopes (Part 4) (3:16)
29. End Title (2:08)
30. Lullaby in D Minor (0:42)
Disc 1 Time • 53:06
DISC 2 – THE EXTRAS
ADDITIONAL SCORE FROM THE ORIGINAL SOUNDTRACK ALBUM
1. Italia (1:38)
2. Crazy Tom (4:46)
3. Mischief (2:27)
4. Ripley (3:29)
5. Proust (1:57)
6. Promise (2:48)
7. Syncopes (4:47)
BONUS TRACKS
8. Lullaby for Cain (Opera Version) (3:44)
Performed by MaryAnn McCormick & Toni Manoli
9. Italia (Alternate) (0:51)
10. Heartbreak (Alternate) (1:46)
11. Lost Love (Alternate Mix) (1:12)
12. Venezia (#1) (4:11)
13. Mischief (Alternate) (1:54)
14. Killing Freddie (Alternate) (2:18)
15. Promise (English Horn Version) (1:10)
16. Mischief (Alternate #2) (0:28)
17. You’re Shivering (Alternate) (2:09)
18. Venezia (#2) (1:55)
19. Ripley (Alternate) (3:27)
20. Lost Love (Alternate) (2:20)
21. Crazy Tom (Alternate) (4:38)
22. Lullaby for Cain (Instrumental) (3:30)
DEMO CUES
23. Ripley (Main Theme) (2:33)
24. You’re Shivering (2:11)
25. Italia (Sailing) (0:59)
26. Promise (1:27)
27. Crazy Tom (2:32)
Disc 2 Time • 68:12
Total 2-CD Time • 121:18
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Amazing!!!!!
One of my favorite scores to one of my favorite films!!!!
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Oh, great, I am looking for one or two more albums to order an album (so to combine postage)... this might just be it. :-)
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Great release.
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I'm still waiting for my copy to arrive! 
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I'm pondering this one. I've never had it in any fashion.
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I'm pondering this one. I've never had it in any fashion.
It's an absolute masterpiece, full of gorgeous themes, mixing a sweeping symphonic sound with more intimate jazz elements and creepy, ethereal suspense cues.
It was woefully misrepresented on the soundtrack album, it's one of Yared's best! 
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Oh, wow. Just saw this! A fantastic score a fantastic movie. Looking forward to hearing more of Yared's music.
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My copy of this arrived yesterday.
25 years waiting, and it was worth it.
I'm convinced this is one of the most brilliant film scores ever.
It has to convey about a thousand conflicting emotions, from within the headspace of a seemingly unsympathetic character. It has to make us feel what he feels, and see the world the way he does.
It has to be alternately breezy and relaxed, gleefully malicious, cold and devious, and eventually heartbroken and absolutely lost in the world, and it achieves this at every turn, sometimes hitting all of those emotions in a single cue.
And at the same time, it's devastatingly melodic and achingly beautiful.
It's Yared's towering masterpiece, in my opinion.
I'd place it in the top 10 film scores ever written.
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I'm also noticing that there's very little score in the first half otf the film. Most of the score is in the second half, which is interesting.
BTW, I was rewatching the film with a friend a few years ago and noticed something kinda cool. Minghella came from theater, and this is structurally, in many ways, a play. Act One is half the film, ending with the murder of ****. That's effectively the curtain going down. Act Two is the results of that. I'm sure it would be possible to figure out how to apply the three-act structure to the story too, but it really does function beautifully as a play.
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My copy of this arrived yesterday.
25 years waiting, and it was worth it.
I'm convinced this is one of the most brilliant film scores ever.
It has to convey about a thousand conflicting emotions, from within the headspace of a seemingly unsympathetic character. It has to make us feel what he feels, and see the world the way he does.
It has to be alternately breezy and relaxed, gleefully malicious, cold and devious, and eventually heartbroken and absolutely lost in the world, and it achieves this at every turn, sometimes hitting all of those emotions in a single cue.
And at the same time, it's devastatingly melodic and achingly beautiful.
It's Yared's towering masterpiece, in my opinion.
I'd place it in the top 10 film scores ever written.
Wow. Kind of difficult to ignore now. Oh, well its only money.
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Wow. Kind of difficult to ignore now. Oh, well its only money.
I cannot possibly recommend this score highly enough.
It's the best thing Yared has ever written, and I think he's a genius and own all his CDs.
I wrote a fan letter to Minghella, before he passed, about the brilliance of one particular scene, where Damon's Ripley watches Law's Dickie pouring coffee. On the page, it's just inane chatter, but the way Minghella stages it for the camera, it's zeroed in on Ripley's fixation with Dickie (both him and his glamorous lifestyle). It's shot in extreme closeups from Damon's POV, and it's masterful. Yared's score for that scene is staggering in how it gets into Ripley's mind.
To me, there are two kinds of scores. Objective scores, which are decorative in many ways, and reinforce emotions already present, are difficult enough to do well. But subjective scores are much more difficult, in my mind. They need to show an individual character's perspective upon the scene, even if nobody else in the scene is feeling those emotions. Those are impossibly difficult to write, and I think this is arguably the best subjective score ever written.
BTW, after my fan letter, Minghella kindly sent back a nice note, which I had framed, with a still he signed for me.
I've heard the filmmaker Florian Henckel von Donnersmarck talk about the brilliance of this score, and I agree with him completely. I believe I read that he wrote his film school thesis paper on this score. I believe he also hired Yared for The Lives of Others because of this score.
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I'll add that it's funny, but Damon stars in another film with a brilliant subjective score, although that one is far more obvious. In The Informant, the Marvin Hamlisch score is for the movie in the main character's head, definitely not the world and story he's really experiencing. Soderbergh talked about that at the time, and said it was the reason he wanted Hamlisch.
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To me, there are two kinds of scores. Objective scores, which are decorative in many ways, and reinforce emotions already present, are difficult enough to do well. But subjective scores are much more difficult, in my mind. They need to show an individual character's perspective upon the scene, even if nobody else in the scene is feeling those emotions. Those are impossibly difficult to write, and I think this is arguably the best subjective score ever written.
BTW, after my fan letter, Minghella kindly sent back a nice note, which I had framed, with a still he signed for me.
Sounds like some Herrmann - Hitchcock level of music to psychological state convergence. I'll have to check the film soon.
In any case, ordered. Thanks for the detailed info.
Edit. And very nice that exchange with the director.
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I'm listening to Disc 2 now.
- it's fascinating to hear all the alternates that were recorded. It's clear, as described in the booklet, that Minghella, Yared and Murch spent a great deal of time and energy finding the right sound for the score.
- I'm glad they included the album suites from the 1999 soundtrack album, so we have a complete collection of Yared's contributions.
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