Arrival

Film Facts: 

‘Despite knowing the journey.. and where it leads. If you could see your whole life from start to finish, would you change things?’ (Louise Banks, Arrival, 2016). 

Arrival is a science fiction film like no other, one that focuses on the linguistic potential of the extra terrestrial, rather than the typical ‘take-over-the-world’ type of arch. Linguistics expert Louise Banks (Amy Adams) and physician (Jeremy Renner) star as the two masterminds in charge of communicating with the alien life forms who appear in various countries across the world, later known as ‘Heptapods’ under the supervision of Colonel Weber (Forest Whitaker). The film’s focus is on understanding the alien life form and what their presence on earth means for them, developing a terrific and engrossing story leaving us with plenty to think about in relation to the world we live in. The film builds curiosity and tension all the way until the closing scenes, where Louise Banks discovers what her visions mean and how to interpret the soon-to-be universal language. Amy Adams is a knock-out in this film, with solid performances all round from the cast. The film is directed by Denis Villeneuve and based on the 1998 short story ‘Story Of Your Life’ by Ted Chiang. The score was composed by Icelander Johann Johannsson who brings an emotional and immersive score with a consistency which continues to build throughout the film. Johannsson also collaborated with Villeneuve in Prisoners and Sicario. It’s important to mention that Max Richter’s track ‘On The Nature Of Daylight’ (The Blue Notebook) was embedded within the OST and used as an aural bookend to the film and this prevented the ‘Arrival’ OST from receiving any additional major awards, which in turn has been regarded as a historical snub.

OST Facts: 

• Composer

Johann Johannsson

• Label

Universal Music Enterprises

• Award Nominations 

Golden Globes – Best Original Score – WON

• Release 

2016

The Jam

Johan Johannsson designs a score which evokes emotion, intensity and brings to life the alien life-forms central to the film, known as the ‘Heptapods’. The focus on electronic instrumentation allows Johannsson to highlight many unique intervals and timbres. The OST begins with a metallic sounding drone which remains in place for many bars on tied notes, a technique used commonly throughout this record, similar to the sounds Hans Zimmer designs in similar scores. The repetition is purposeful and appropriate, however, it’s necessary noting that there are no real deviations from this central idea, rather, this repeated technique is developed through a number of overlapping chord tones which alternate depending on the particular scene. 

Each track carries emotion here, from long electronic based drones, to the trills of string instruments, Johannsson masterfully creates suspense at all the right moments, which is a feat in itself, as the film is largely based on communication, curiosity and linguistics (rather than world destruction, violence and typical character backstory emotion). Johannsson and Villeneuve are in-sync between and during each sequence of the film, carrying an aesthetic which builds and builds right until the end of the film. 

The OST holds a strong consistency throughout the entire score, a strength in relation to this film, which seeks to pull the audience deeper into the curiosity and emotion which exists between the humans and the ‘Heptapods’. ‘Escalation ‘stands out as the most unique track which extracts from the otherwise consistent OST. 

‘Sapir-Whorf’; the name is a tip of the hat to the ‘Sapir-Whorf Hypothesis’ which is essentially the focus idea during the scene. This track occurs towards the beginning of the film and from the beginning seconds it builds atmosphere. The track begins with a number of related vocal tones all colliding together at various times creating a number of harmonies, with the strings quietly following as backing arpeggios. Shakers bring in a rhythmic drive as the piece moves the instruments around in the mix. The deep sound of the Contrabass and similar instruments alike swell at the beginning of each cycle, increasing the breadth of this piece and the emotion it carries. This piece carries such an elusive curiosity, a deep emotion and a completely transcending experience. The way in which Johannsson mixes these layers together to create a combining sound without causing too much chaos is terrific, very few composers can find this fine balance, and this film depends on it.

Soundtrack Send-Off & Rating

The Arrival OST was composed with a deep understanding of the film from composer Johannsson, who heightened and complemented particular sequences within the film which resonate with all of us. Johannsson centres the piece around a synthetic atmosphere, while inserting a number of orchestral families to support the direction he was aiming for. The soundtrack is completely in tune with the aesthetic of the film, it remains consistent with the emotive direction, dramatic sequences and character arcs while bringing a general intuition to film composing in a unique and purposeful way.

References

https://www.vulture.com/2016/11/arrival-score-johann-johannsson-song-exploder.html

https://collider.com/oscars-best-original-score-contenders-arrival/

Punch-Love-Drunk

Film Facts:

‘I didn’t ask for a shrink – that must’ve been somebody else. Also, that pudding isn’t mine. Also, I’m wearing this suit today because I had a very important meeting this morning and I don’t have a crying problem’ Barry Egan (Adam Sandler). Punch-Love-Drunk is a romantic drama/comedy which follows Barry Egan and the many struggles he carries filled with many emotions both of sweetness, love and a consistent quirkiness which I believe fits perfectly into the skill set Sandler offers. The film was written and directed by Paul Thomas Anderson and draws upon the idea of silent films with little dialogue spoken in replacement of visual storytelling and of course our film score. Jon Brion wrote the score for this film in his first and only collaboration with PTA. 

Track Facts: 

• Composer

Jon Brion 

• Label

Nonesuch

• Award Nominations 

None On Record

• Release 

November 5, 2002

The Jam

The ‘Punch-Love-Drunk’ soundtrack extends the listener into foreign territory utilising a range of experimental sounds and instruments while providing some memorable harmonic sequences, this begins from the first track. The ‘Punch-Love-Drunk’ theme conforms to a traditional ‘love-based’ composition and in doing so recurs as the musical centrepiece for this film as it brings together both Barry and Lena and is soft on the listeners’ ears.

Jon Brion designs a sweet, quirky and energetic mixture of sounds and musical ideas, which brings about a mixture of emotions. The most notable and common sound is the ‘Punch-Drunk-Love’ melody discussed above, which brings together the families of both woodwind and string while moving through a crescendo into the main theme. On the opposite end of what we experience in the main theme, tracks such as ‘Tabla’ and ‘Hands and Feet’ bring in a mixture of sounds, time signatures and counter melodies to create a confusing and high tempo whirlwind. ‘Waikiki’ and similar tracks throughout the OST stay with Barry on his journey to Hawaii, a good showcase of variance from Brion.

Brion’s strength is in his exclusive tracks ‘Tabla’ and ‘Hands and Feet’, with a truly unique use of instrumentation and musical development to design a relevant yet irresistible charm to the score and the character of Barry Egan. Wide panning from left to right with no timing constraints stand out in this composition and carry a lot of Barry’s struggle and Brion’s boldness in his musicality.

The clear standout in this soundtrack is the ‘Punch-Love-Drunk’ theme, the movement, harmonic layering and rubato brings a depth to Barry and his relationship with Lena, as well as adding a warmth to the entire film. The remainder of the soundtrack presents a number of well-composed pieces, many of which contain the theme in different forms and instruments.

Soundtrack Send-Off & Rating

The Punch-Love-Drunk OST reciprocates the quirkiness, confusion and love we see in Barry Egan, as well as solely unique musical ideas. We also hear numbers of the track which supplement the characters in the film in his emotions, dialogue and his journey. Jon Brion is right on point with his understanding of Sandler’s Barry Egan and brings forth his times of happiness, anger, confusion and his trip to Hawaii, although there are few tracks which stand out within the soundtrack on a musical level which differ from the track discussed above. 

‘Punch-Love-Drunk’ upholds its quality and listening ability but lacks the variety and energy for a full listen through each time: 3/5 

References

Nil

Rebel Without A Cause

Film Facts:

‘If I had one day when I didn’t have to be all confused and I didn’t have to feel that I was ashamed of everything. If I felt that I belonged someplace. You now?’ (Jim Stark, 1955). When we think of classic cinema there are a number of films which spring to mind, one of the most common is ‘Rebel Without A Cause’ directed by Nicholas Ray, screenplay written by Stewart Stern and cinematography lead by Ernest Haller. The film has become a classic cinematic icon which during its time and well after remains a meaningful story with world-class performances from James Dean (Jim Stark) Natalie Wood (Judy) and Sal Mineo (Plato). The OST was composed by Leonard Rosenman, a composer who wrote a number of scores for classic films. The soundtrack for this film was released in 1955 upon the film’s release, however, in 1997 the music composed for both ‘East Of Eden’ and ‘Rebel Without A Cause’ were combined in a re-release soundtrack as a tribute to Leonard Rosenman. Recorded by John Adams and conducted by the London Sinfonietta, this combined soundtrack is what I have listened to in order to understand the score from this film and I will be referring to this particular tribute soundtrack.

 

Track Facts:

Composer: Leonard Rosenman

Label: Nonesuch

Award Nominations:

None On Record

Release: July 29, 1997 (Remastered)

 

The Jam

Leonard Rosenman was a composer who wrote music for film from the mid-50s up until the early 21st century, beginning his career with ‘The Cobweb’, ‘East Of Eden’ and ‘Rebel Without A Cause’. Rosenman captures the sounds of the late 1940s and early 1950s as well as creating some stunning thematic movement.

Rosenman begins the opening theme with somewhat of an overture, instantly setting the mood for the film while Jim Stark drunkenly stumbles to the floor and plays with a child’s toy before the police detain him. The Warner Bros logo appears and Rosenman sweeps us off our feet with a commanding hit on the horns before moving into a swing centered development led by the horns, woodwind and percussion instruments. The opening credits then finish off with the iconic ‘Love Theme’ which is led by the warm and vibrant string sections, a highlight in this score.

Moving into the start of the film we have very little music until Jim Stark and the students reach ‘The Planetarium’ for an explanation of the solar system, where the students prefer talking and cracking jokes during the presentation. The scenery from the Griffith Observatory and The Planetarium alike has deemed the observatory itself as a perpetual movie location particularly after the release of this film. Rosenman gives a mysterious and almost sci-fi feel to this composition, entering with unique scale use on the woodwind instruments while the scene is set for the fight which is about to occur as Jim Stark wanders around the Observatory with the obsessive and peculiar Plato following him. Trills performed by the strings help the scene build as the ‘kids’ and Jim clash in a power struggle for dominance. The entire track remains sparse and free of particular dialogue or direction with subtle and effective use of instrumentation.

In ‘Knife Fight’, Rosenman moves through many different stages, giving depth to the character of Jim Stark and providing a deep tension for viewers. The track begins with a gentle introduction of the woodwind section before moving into a cool and slick jazz theme, led by the tenor saxophone, a typical cool gang styled theme from the 50s. The track then plays with the screen and moves with the knife fight, as Jim and Buzz dodge and dip in an attempt to stab each other. The percussion brings a dramatic and suspenseful energy to the piece as the fight escalates with the snare drum taking a leading role. This score contains core elements of its time in regards to instrumentation and score writing as well as a genuine suspense including tactful crescendos and counter melodies. At times there is so much happening within the score that it becomes quite overwhelming and under appreciated, this may have been a chance for Rosenman to pull back on the reigns of this fast moving score for something more experimental or sublte.

Rosenman writes an absolutely beautiful ‘Love Theme for Jim and Judy, two misunderstood teenagers of the 50s who decide that anywhere else is better than home, and in the process find each other. The track itself only plays for 1:28, however, I believe it is one of the most well written and emotional themes in cinema. The melodic piece performed by the flute followed by the woodwind family provides a soft and soothing platform for the piece, which is supported distantly by the strings, before the roles of these instruments switch. The melodic movement and the harmonic layering in this piece is superb, making for a score which captures the love between the two characters and also the classic love story arch we often see in the 1950s. The majestic tones and harmonic richness designed by Rosenman brings to life a relationship which on screen doesnt have much time to develop, but is deepened by this tremendous score.

Rosenman works the orchestra well as the film begins reaching its climactic point with Jim, Judy and Plato retreating to the abandoned mansion in the hills. ‘The Hunt’ is a track which was composed with clear intent to increase tension and move with the drama on screen as Rosenman designs consistent accented beats, unique trills and dynamic volatility in this fast paced scene. The timpani bellows at the bottom of the orchestra as the strings screech with panic and fear as the ‘kids’ chase Plato around the abandoned mansion. Towards the end of the scene the brass instruments take over, elevating the tension even higher, highlighting how Rosenman was so in tune with the script, using the orchestra in a meaningful way.

BOOM, a clash of the cymbals and a majestic swell from the strings provide the perfect stage for the ‘final act’ if you will. The intervallic relationships and progressions along with the choice of instrumentation provides the final track ‘Plato’s Death/Finale’ with a tense and dramatic ending as Plato runs through the observatory with a gun in his hand, trying to avoid his inevitable capture. The strings take viewers on a journey which aids the visual story as Plato becomes a frantic mess with Jim and Judy following closely behind him trying to save him from his fate.

The track remains free and sparse with the subtle use of instrumentation, allowing the dialogue to work the audience as the film nears its end. Ronsenman brings in thematic developments from scores prior, particularly when the track draws to a close as Plato sadly meets his end. The crash of the cymbals, the dynamic rise and sharp dynamic fall of the orchestra ends the final scene with a sad and challenging tone, accompanying the film’s final scene with great power and energy, as Jim and Judy depart the scene in arms.

Soundtrack Send-Off:

Rosenman’s ‘Rebel Without A Cause’ provides a classic soundtrack which upholds the sounds of the 1950’s and the use of the traditional orchestra, while providing defining themes and classic orchestral movement. The soundtrack in itself is short and lends itself to many bars of dialogue backing and emotional tension, however when Rosenman gets his chance he brings particular scenes in this film to a fantastic height, turning the emotional value up and driving the film forward, a key attribute to Nicholas Rey’s all-time classic film.

Rosenman went on to score many other films but this remains one of his most well known soundtracks throughout his entire career. ‘Rebel Without A Cause’ highlights his keen attention to thematic opportunities which allowed the score to express the visual story on screen and remains a valuable listen as a stand alone soundtrack in itself.

TFMJ Pick Of The Lot: Track #13 – ‘Love Theme’

TFMJ Rating: ★★★★

Thor

Film Facts:

‘Whoever wields this hammer, if he be worthy, shall possess the power of Thor’ (Odin, Thor 2011). Thor was one of the FOUR films which have been officially identified as the foundation of the Marvel Cinematic Universe starring Chris Hemsworth (Thor), Anthony Hopkins (Odin), Tom Hiddleston (Loki), Stellan Skarsgard (Dr Erik Selvig) and Natalie Portman (Jane Foster). Thor was a film which explained the MCU’s origin story for the Norse God which was directed by Kenneth Branagh. The screenplay was written by Ashley Edward Miller, Zack Stentz and Don Payne and the cinematography was led by Haris Zambraloukos.

 

The story was based on the Marvel Comics version of Thor, written by three legendary pioneers of the comic industry Stan Lee, Larry Lieber and Jack Kirby. Thor was nominated for a number of awards, bringing both seasoned performers and upcoming performers to the screen. The film depicts the journey Thor takes from a spoiled and selfish kid in Asgard before his Father Odin banishes him to earth where he begins to learn the values of a true king. The OST was written by Patrick Doyle and was nominated for two awards, bringing about an identity to Thor, which would span over the ten-year journey the MCU had just embarked on.

Track Facts:

Composer: Patrick Doyle

Label: Buena Vista & Marvel Music

Award Nominations:

ASCAP Awards – Top Box Office Films (Won)

World Soundtrack Awards – Soundtrack Composer of the Year

Release: April 25, 2011

 

The Jam

Thor was one of the four founding movies which launched the MCU with Chris Hemsworth becoming the character of Thor and in turn, Patrick Doyle was responsible for the musical identity of the Norse God. Doyle is a diverse composer, writing music for a range of various films, most famously having a strong partnership with Kenneth Branagh in many of the Shakespearean films he directed, and so here it was no surprise that Branagh and Doyle teamed up for this new thrilling, comic-book-inspired adventure.

Doyle begins with ‘Chasing The Storm’ which swells in orchestral energy generating a mysteriousness of the world beyond what we know as Earth as he introduces what I describe as an ‘awe-inspiring’ theme. The track moves into a string ostinato and drives the opening scene where Jane Foster and Dr Selvig quite literally chase a storm which turns out to be the Bifrost, building to an excellent crescendo, igniting the story of Thor. ‘Chasing The Storm’ brings about an energy which viewers can latch onto from the very first scene. This continues into the ‘Prologue’ track as the voice of Anthony Hopkins retells the origins of his homeworld Asgard, setting the scene for the protagonist.

‘Sons Of Odin’ is a track which accompanies the scenery with precision as the audience is introduced to Asgard in all of its glory. The score really builds the character of Thor in the way it introduces strong instrumentation and creates a signature sound for Thor; in tracks such as ‘A New King’ and ‘Ride To Observatory,’ we have this consistent sound while still bringing the mood down to a more reflective and relaxed segment. I will note that Thor did not get his own signature theme throughout the film, rather an overall sound or development.

Considering this is a Marvel film, Branagh brought a good sense of darkness to the screen particularly in the Battle of Jotunheim where Thor and his accomplices face Laufey, the King of the Frost Giants (a good reference to Norse Mythology). Doyle writes an authentic three-part musical journey in ‘To Jotunheim’, ‘Laufey’ and ‘Frost Giant Battle’ which builds the tension from start to finish. These three tracks used not only the entire orchestral landscape but also provided an underlying synthetic pulse, a fantastic and subtle combination of sounds to make this feel like an authentic battle and build the tension.

The scene to follow turns to Odin who banishes Thor from Asgard as a result of his foolish actions and in turn, Thor learns about the value of a true leader. During this scene, Doyle writes a very well balanced piece which both emphasises the dramatic scenery and also brings about the recurring ‘awe-inspiring’ theme providing not only the hint for redemption but also consistency for Thor’s character. ‘Crisis in Asgard’ and ‘Odin Confesses’ changes the mood of the soundtrack dramatically as we learn about the history of Loki and the truth behind his adoption which Odin reveals to him. Doyle draws back on the instrumentation and successfully creates a sombre tone throughout these interactions which are an example of ‘Cinema Reliant Compositions’ (CRC), allowing for a focus on dialogue and emotion.

Doyle utilises similar tones and progressions in tracks throughout the film when Thor isn’t swinging Mjolnir around. This type of writing I found to be a little lacking but consistent with the overall direction of this soundtrack which is primarily sparse and free-moving, although at times it feels as though these tracks had room for more development and innovation. That being said, tracks such as ‘Urgent Matter’, ‘Loki’s Lie’ and ‘My Bastard Son’ allow the screenplay to dominate the particular scene as it needs to.

Doyle’s strength in this soundtrack is highlighted by ‘The Compound’ a track which brings many different energy levels and compositional devices in this fast-moving scene which acts as a turning point for the entire film. Doyle begins the track with a classic ‘breaking-in’ vibe which utilises the strings as the driving force behind the scene. Doyle pushes the energy forward and brings it back using the percussion instruments for accented beats and increased tension as Thor breaks in the compound and takes on a number of seemingly useless security guards. Although the track becomes lost in fighting background sounds during the mid sequence, Doyle eventually moves into the ‘awe-inspiring’ thematic direction when Thor is reunited with Mjolnir. Tactically, Doyle just as quickly turns this into a sombre strong-based arrangement as Thor realises he is unworthy of lifting the mighty hammer. In the same light, ‘Brother’s Fight’ and ‘The Destroyer’ sticks to the heavy use of percussion and widespread instrumentation, while ‘Thor Kills The Destroyer’ transitions well into the recurring sound of heroism, as viewers witness Thor in all his glory as his powers and traditional suit return to him, signifying his worthiness.

Doyle is known for his versatility in film scores and this is no exception. As the emotion changes in the film Doyle adapts his score development which complements the emotion on screen; ‘Science and Magic’ is a perfect example of this, for as Jane and Thor discuss the Nine-Realms over a warm fire, Doyle develops a subtle love theme which sadly does not grow into a distinct theme of itself. Doyle’s best emotive score is ‘Letting Go’ as Loki physically and mentally let’s go of his brother and Father to descend into the blackness of space at the end of the film’s climax. The use of the arpeggios on the strings and the stinging emotion from the intervallic progression works brilliantly in this scene as it moves the film towards its end.

Doyle finishes off the soundtrack nicely with ‘Can You See Jane’ which touches on the love theme between Thor and Jane and the connection they developed throughout the film. This score also emphasizes the relationship which Thor has with his Father Odin, as the cello takes the lead and brings a genuine warmth and calmness to their exchange and their relationship. This track takes the audience back outside of Asgard through the original space sequence which took place at the beginning of the film and into the credits. ‘Earth to Asgard’ is the final written score in the soundtrack which is similar to the ‘Prologue’ track, scored with the same instrumentation and progression. I am assuming that during the editing process both scores were used as Odin explains the history of Asgard at the beginning of the film.

 

Soundtrack Send-Off:

Doyle’s score for Thor is one which caters to many different emotions and provides a wide instrumentation and some beautiful segments of film music. I think overall the MCU lacks a definitive theme for each individual character and this is no exception, however with the universe being as diverse and populated as it is, presents its own difficulty. Doyle did not provide a definitive theme for Thor rather a thematic product through tracks such as ‘Chasing The Storm’, ‘Leufey’, ‘Science and Magic’ and ‘Earth To Asgard’, designing balanced and appropriate musical direction for a God being who spends his time on earth.

Doyle is specific in his focus from the beginning of the film in the world of Norse Mythology to Thor’s adventures on earth as the difference in approach was clear, however, the soundtrack does become lost at times and falls into the background during the ‘Marvel-type’ fighting scenes or the villain exchanges, something I believe is a holistic problem in the MCU. The score which Doyles has written provides both mythological energy and also a relatable human element in this sparse and well-rounded soundtrack.

TFMJ Pick Of The Lot: Track #1 – ‘Chasing The Storm’

TFMJ Rating: ★★★

You’re A Wizard Harry!

Harry Potter and the Philosopher’s Stone – OST

Film Facts:

‘You’re A Wizard Harry.. A Thumping good one at that, once you train up a little’ (Hagrid, The Philosophers Stone, 2001). Harry Potter And The Philosophers Stone was written by J.K Rowling in 1997 and directed by filmmaker Chris Columbus, the first of the EIGHT FILM Harry Potter saga. The screenplay was written by Steve Kloves and the film was released in 2001. Harry Potter And The Philosopher’s Stone was nominated for a number of Academy Awards followed up by many other award nominations. The film follows the protagonist Harry Potter (Daniel Radcliffe) and his two companions Hermoine (Emma Watson) and Ron Weasley (Rupert Grint) in their first year at Hogwarts School Of Witchcraft And Wizardry which marks the beginning of Harry’s rivalry with archenemy Voldermort. The OST was written by the legendary John Williams and was nominated for one of the Academy Awards as well as receiving a Grammy Award nomination in 2003.

Track Facts:

Composer: John Williams

Label: Warner Tower Music/Nonesuch Record/Atlantic Records

Award Nominations:

Academy Awards – Best Music, Original Score

ACCA – Best Original Score

BMI Film & TV Awards – Film Music Award (Won)

Critics Choice Award – Best Composer

GoldSpirit Awards

• Best Sci-Fi/Fantasy Soundtrack
• Rest Recording Edition
• Best Theme

Grammy Awards – Best Score Soundtrack Album For A Motion Picture, Television or Other Visual Media

PFCS Awards – Best Original Score

Stinker Awards – Most Intrusive Musical Score

Release: October 30, 2001

The Jam

John Williams is a prolific composer for the film industry, composing for some of the most notable films of the 20th century. Harry Potter and the Philosopher’s Stone was not the first time Chris Columbus and John Williams met which was in 1990 right before Columbus was to release ‘Home Alone’. While it was being shown in preliminary screenings before it’s release, Williams’ agent contacted Columbus and expressed John’s interest to write the score for this film. Nine years later Williams was Columbus’ first choice as he has talked about the admiration he had for John Williams and the feeling he had the first time he heard the hauntingly beautiful theme which launches the entire Harry Potter series into a world phenomenon and remains the centre of the film’s music for the entire series.

The film begins with ‘Prologue’ or later known officially as ‘Hedwig’s Theme’ with a steady ascension of instrumentation and intervallic relationships designed to transport us into the mysterious and magical world of Harry and his friends. This Polyphonic theme is the basis for the entire Harry Potter film series as it is transitioned into and out of various other tracks throughout the film. ‘Hedwig’s Theme’ presents a softness with various tuned percussion instruments and carefully selected use of strings to bring about this magical feeling which Williams does so well.

‘Harry’s Wondrous World’ develops on this and brings in the entire orchestra, lifting the emotion and energy to a level where we could almost imagine flying through Hogwarts on a broomstick of our own. The harmonic movement throughout this piece moves with such grace, incorporating various countermelodies, call and responses and secondary themes. This track forever moves and develops new sub-themes which are used throughout the film at various points and it is within these two tracks we really get a sense of the direction Williams is taking.

‘The Arrival Of Baby Harry’ set the scene perfectly for Dumbledore to go walking the quiet streets of Surry at night in order to drop Harry off at his Aunt and Uncle’s doorstep as Williams turns to his consistent use of various tuned percussion instruments, coming back into the original theme for the film.

Williams focuses on a number of themes in this soundtrack in creating mystery, mischief, inspiration, battle and of course magic in ‘Visit To The Zoo and Letters from Hogwarts’, ‘Platform Nine-and-Three-Quarters’ and The Journey To Hogwarts’, ‘Mr. Longbottom Flies’ and ‘The Norwegian Ridgeback and a Change of Season’. The recurring themes discussed are present in each of these tracks and between the use of these themes we are presented with a very true relationship to what we experience visually as we can hear each cue as the scene shifts in direction. These tracks are what I call cinema reliant compositions (CRC for short), which rely heavily on the visual aid for sustainability, of course serving its purpose as Film Music.

‘Diagon Alley and Gringotts Vault’, ‘Entry into the Great Hall and the Banquet’ and ‘Hogwarts Forever! And the Moving Stairs’ present us with an array of thematic development presenting us with a track which truly moves at such a fast pace throughout this scene, similar to the CRC tracks above. The way in which John Williams paces the harmonic movement throughout a number of tracks such as this is a testament to the way Williams engages the entire orchestra and his development of energy and musical journey. ‘The Quidditch Match’ truly encapsulates this technique beginning with the marching snare drums leading to the pitch, moving into the overwhelming sense of excitement and joy as Harry moves up into the action of the game and then into tension caused by Harry’s cursed broomstick; there are also hints into what will become the theme for Voldermort every time ‘He-Who-Must-Not-Be-Named’ is mentioned.

‘Christmas at Hogwarts’ brings in the same excitement, using the entire Orchestra to symbolise Christmas and festivities, however this track along with the track ‘Invisibility Cloak and the Library Scene’ stand out as unique sounds to this soundtrack. Williams really explores the idea of a mediaeval sounding ‘Gregorian Chant’ styled composition, centred around an eerie drone and quite chanting by a vocal ensemble, quite similar to choral music which really shows the extent of Williams knowledge and talent.

‘Fluffy’s Harp’ and ‘In The Devil’s Snare and Flying Keys’ compliment the panic, mayhem and energy of the scenes from the film during these sequences, however musically they are quite fast-moving and are designed to aid the visual, a prime example of CRC. I find these tracks hard to associate with musical independence due to this chaotic movement and at times lack of energy or intuition. ‘The Chess Game’ is a real highlight for me; The track begins with the power of the low registered horns along with the repetitive snare drum pattern before Williams brings the entire orchestra to life as the brutal chess game takes place between the three kids and the army of stone chess pieces. This piece reaches a climactic height which I believe is the musical high point of the movie; Ron realising that he must sacrifice his Knight to win the Chess match, leading into the suspenseful scene watching the Queen make it’s way over to Ron to take him off the board.

Finally, we get an appearance from Voldemort in the flesh as Harry and Voldemort face off in front of the ‘Mirror Of Erised’. ‘The Face Of Voldemort’ is a well-constructed villain styled theme which brings both a mysteriousness and danger to the score and aids this final scene well. Small trills, instrumentation changes, tempo changes, dynamic changes and the development of the Voldemort theme make this one of the most dramatic and carefully written pieces of music in this film and rightly so, this is the climax! This ‘Voldemort Theme’ again becomes pivotal to the Harry Potter series as it hints at the darkness which this series slowly spirals into, Williams really sets the aural tone here for the future of the film franchise.

‘Leaving Hogwarts’ is an emotional theme, one we hear throughout the film in small parts when Harry is looking at photos of his parents or spending time with Hedwig, but here it is most prominent. Hagrid is the consistently light-hearted, lovable support person for all three kids, especially Harry, and as he gives Hagrid a big hug and waves goodbye to Hagrid through a window of the Hogwarts Express, Williams pushes those emotions through to us and emphasises the relationship between all four of these characters generating a sad yet hopeful feeling in our heart as we watch Hogwarts disappear into the background. Williams’ ability to create such a variety of themes and emotions has always been a strength of his and in this track for me, really helps us relate to Harry’s Parents and in turn the importance of relationship and family.

Soundtrack Send-Off:

John Williams’ ‘Harry Potter and the Philosopher’s Stone’ is a soundtrack that defined the entire Harry Potter film series, which captured the imagination of audiences both young and old and has stood the test of time. Williams’ soundtrack compliments Columbus’ directing with precision, bringing to life many characters and scenes and in the process developing various themes which occurred throughout the film in a consistent approach. There are times where we are brought back to Hedwig’s theme more often than I think necessary, and at times the soundtrack is so in tune with the film that it is difficult to listen to this soundtrack as a self-sustaining entity, alas, the music served its purpose, not all tracks can be self-sustaining. John Williams has once again provided life for the characters on screen and into the minds of the audience remaining consistent with his approach to many of his works on other films.

TFMJ Pick Of The Lot: Track #16 – ‘The Chess Game’

TFMJ Rating: ★★★★

I Drive

I Drive

Film Facts:

‘You give me a time and a place, I give you a five-minute window. Anything happens in that five-minute window and I’m yours. No matter what. Anything happens a minute either side of that and you’re on your own. Do you understand?’ (Driver, 2011). Drive was written and directed by filmmaker Nicolas Winding Refn, based on James Sallis’ novel ‘Drive’. The screenplay was written by Hossein Amini and released in 2011. Drive was nominated for an Academy Award followed up by many other nominations. The film follows the protagonist Driver (Ryan Gosling) and into his life of crime and stunt driving in this visually outstanding film lead by cinematographer Newton Thomas Sigel. The OST was written by Cliff Martinez and was nominated for a number of awards outside of the Grammy and Academy Award tier.

Track Facts:

Composer: Cliff Martinez

Label: Lakeside Records

Award Nominations:

• ACCA Awards – Best Original Score
• BSFC Awards – Best Use of Music in a Film (Won)
• Critics Choice Award – Best Score
• CFCA Awards – Best Original Score (Won)
• BAFTA Awards – Anthony Asquith Award For Film Music (Won)
• Gold Derby Award – Original Score
• ICS Awards – Best Original Score (Won)
• IFMCA Awards – Best Original Score for an Action/Adventure/Thriller Film (Won)
• INOCA Awards – Best Original Score
• IOMA Awards – Best Original Score (Won)
• ALFS Awards – Technical Achievement of the Year (Won)
• LAFCA Awards – Best Music (Won)
• Satellite Awards – Best Original Score
• SLFCA Awards – Best Music
• WAFCA Awards – Best Score
• World Soundtrack Awards
  • Best Soundtrack Of The Year (Won)
  • Soundtrack Composer of the Year (Won)

Release: August 16, 2011

The Jam

‘Drive’ is a film that takes the audience into the mysterious life of “Driver’, the name we know the protagonist by for the entire film, true to James Sallis’ novel which the film was based on and the journey he undertakes in his life of crime in L.A. The writing, directing, cinematography and score all work together to create a film with picturesque scenery capturing late-night L.A which oozes authentic 80’s synth-pop sounds and experiences. The film opens with an extended version of ‘Tick Of The Clock’ by the Chromatics which is extended into a blend of the original tune and Martinez’s electronic and synthesised development. This tune continues to play throughout the entire opening sequence which keeps the tension heightened until the opening credits begin.

The opening credit scene begins with the skyline of Los Angeles city appearing in time with Kavinsky’s ‘Nightcall’, which for me personally enters into one of the best opening credit scenes I have ever experienced. ‘Nightcall’ introduces the 80’s style electro-synth at this point and provides Martinez with the perfect emotive direction for the remainder of the film. Martinez provides a score which comes off the back of these two tunes discussed above and seamlessly moves from one track to the next with the same level of tension, focus and emotion.

The soundtrack includes the existing recordings of the tunes recorded by their respective artists and is then followed by Martinez’s scores, which begins with Track #6 in ‘Rubber Head’ remaining consistent with the electronic tone set by the pieces played earlier and begins with a patient electronic swell. The bass acts as a drone or the backbone of this piece as he inserts and develops various layers around this idea, a technique commonly used by Martinez.

There are many tracks which emulate this reflective and calm synth-pop identity similar to ‘Rubber Head’ such as; ‘I Drive’, ‘He Had A Good Time’, ‘They Broke His Pelvis’ as the movie moves forward and builds the story around ‘Driver’. When we reach Track #10 ‘Kick Your Teeth’, Martinez takes us into a darker more daring emotion as the plot thickens and the criminal activity increases around ‘Driver’. This track brings in the familiar bass line with small melodic phrases which are panned selectively from left to right bringing about a change in pace.

Through the progression of the soundtrack, Martinez remains eerie in his approach with carefully composed synthetic sounds and mastered accordingly to create distance between these elements within the soundscape, which is really what this soundtrack presents to us an entire product. Moving through the soundtrack we hear tracks which play similar to this as ‘Driver’ begins to form a relationship with Irene (Casey Mulligan) and by extension her son Benicio leading up to his Father’s return from prison.

Track #14 in ‘After The Chase’ plays after a robbery in the film goes wrong in Standard’s (Oscar Isaac) death and compliments the particular scene perfectly. The beginning of the track releases a distinct metallic sound which pans from left to right before entering into a deep bass-driven sequence which carefully introduces similar layers. The track develops with intense synth bass notes in conjunction with a metallic call and response, creating a deep emotional atmosphere in what is truly a masterpiece in film music writing not to mention how well filmed this particular scene is.

The ending sequence of this film is highly intense in watching ‘Driver’ execute his plan of attack to save his adopted family Irene (Casey Mulligan) and her son Benicio. Track #14 ‘Hammer’ really brings out the raw ability ‘Driver’ has to inflict pain and act as a figure of authority which drives the scene with enormous energy. The nightmarish synth-horn emulating sound resonates so true to Drivers character, again supported by a deep underlying drone on the bass which remains constant throughout the soundtrack. If we listen to the soundtrack as an entity on its own, it would be fair to assume that this was the height of the film. What viewers will agree with is that the film is still yet to reach its peak, however musically I think the soundtrack moves down in emotion as the film reaches its end. In tracks like ‘My Name On A Car’, ‘On The Beach’ and ‘Bride Of Deluxe’ we are presented with a consistency similar to that from the beginning of the soundtrack, taking the edge of the intensity in ‘Hammer’

Soundtrack Send-Off:

The soundtrack really moves the emotion in each scene which authentically generates anxiety and focus, immersing the viewers in what is occurring on-screen. The ‘Drive’ OST provides us with a highly sophisticated and authentically dark, 80’s synthetic composition which brings out the character of ‘Driver’ in a subliminal sense, transcending what we visualise. The soundtrack seamlessly moves from one track to the next representing its consistency throughout the entire film yet bringing out many different sounds and emotions while the themes develop.

Cliff Martinez has constructed a superb soundtrack for this film which aids the visually brilliant style of the film. Martinez carefully utilises electronic sounds which are edited and mastered in a way which makes this a deeply emotional and immersive soundtrack for listeners and viewers.

TFMJ Pick Of The Lot: Track #13 – ‘After The Chase’ (Drive OST)

TFMJ Rating: ★★★★★

Dead Already

Film Facts:

‘My name is Lester Burnham. This is my neighbourhood. This is my street. This is my life’. (Lester Burnham, 1999). American Beauty was written by Alan Ball, directed by Sam Mendes and released in 1999 which won the academy for best picture. The film follows the protagonist Lester Burnham (Kevin Spacey) of a 12 month period and all the events which unfold in his life leading up to his death. The OST for American Beauty was written by Thomas Newman and was nominated for a number of awards.

Track Facts:

Composer: Thomas Newman

Producers: Chris Douridas, Sam Mendes and Michael Ostin

Award Nominations:

• Academy Award – Original Music Score
• Golden Globes – Best Original Score
• Las Vegas Film Critics Society Awards – Best Score
• OFTA Film Awards – Best Music, Original Score
• OFCS Awards – Best Original Score
• BAFTA – Anthony Asquith Award For Film Music (Won)
• Grammy Awards – Best Score Soundtrack Album for a Motion Picture, Television and Other Visual Media (Won)
• BMI Film and TV Award (Won)

Label: Dreamworks

Release: January 11, 2000

 

The Jam

The first track ‘Dead Already’ gives us an impression (as Lester’s character would suggest) that like many of us, Lester is going about his ordinary day the same as always. The arpeggio performed on the Marimba creates a wittiness to the film and the character we are watching on screen and this ostinato remains a developing theme throughout the soundtrack. The track develops with the introduction of the acoustic and bass guitar which makes for a great theme of Lester and his lack of inspiration. ‘Dead Already’ is a fantastic composition which captures the opening scene well and is also enjoyable to listen to as a stand-alone piece.

From ‘Dead Already’ the thematic use of tuned percussion, guitar and bass recurs often as a theme to Lester’s character and his development throughout the film. Tracks which really highlight these themes are ‘Bloodless Freak’, ‘Weirdest Home Videos’ and ‘Marine’ which essentially build on the theme of the first track.

The soundtrack development is representative of the development that Lester goes through in this film. In Track #2 ‘Arose’ Newman gives us what I perceive to be a deep and sparse track which again centres around the Marimba and Xylophone with various cymbals utilised in the background. This is beautiful and changes the thematic pace of the first track, merging Lester’s journey into our own perhaps

Track #7 ‘Root Beer’ takes us inside the conflicted mind of this Lester when he sets his eyes on Mena Suvari’s (Angela) character when his infatuation with her begins. The erratic and irregular use of the cymbals and percussive instruments just sends a sense of confusion and chaos up your spine while watching this, another fantastic way Newman really enhanced the emotions of each scene in this film. The percussive theme recurs in Track #13 ‘Spartanette’, almost every time Lester feels the sense of lust for Angela we are presented with this unique track

Track #5 ‘Mental Boy’ gives us the third layer of the soundtrack which offers a sense of mystery as characters learn about others and themselves which opens up the beginning of the relationship Jane enters into with her neighbour. Newman really leans on the use of the strings and the piano in this track for an ambient effect and this also emerges in scenes where Lester begins finding real happiness in a number of tracks; ‘American Beauty’, ‘Angela Undress’, ‘Walk Home’, Blood Red’ and ‘Any Other Name’.

The American Beauty OST written by Thomas Newman moves in layers of thematic development and I think this translates into our own consciousness, as Mendes aims to get us into the mind of Lester Burnham and in some instances into our own mind. Both Mendes and Newman complement each other really well as the soundtrack offers us times to laugh and relax, times where we find it difficult to grasp our thoughts on happiness and those times we experience real truth in our life. Newman’s soundtrack is a well-developed score which provides us with an opportunity to feel like we have completed the journey of the protagonist and in turn our own journey.

TFMJ Send-Off:

Newman’s American Beauty OST is inventive, witty and emotional, a soundtrack which evokes a range of emotions throughout the film and also holds this value as a stand-alone soundtrack as well.

TFMJ Pick: Track #2 – ‘Arose’

TFMJ Rating: ★★★★★

Mind If I Cut In?

The Dark Knight Trilogy was a significantly prolific accomplishment for the DC Universe and was achieved by the brilliant mind of Christopher Nolan in partnership with Hans Zimmer.

Zimmer is a composer who we could discuss and rejoice week of every year but today we are looking at the Dark Knight Rises soundtrack, most specifically track #4 ‘Mind If I Cut In’. The beginning of the track brings about the sense of illusiveness with the beating pulse of the strings in link with the whisk of the cymbals, making for an excellent combination before he begins using the whole tone scale to design an ever building sense of mystery.

We often listen to the tracks such as ‘The Watchful Guardian’ which is powerful in itself, and think about the energy and power of Batman, but here in ‘Mind If I Cut In’ we have what really can be summarised as the theme for Catwoman with an entirely different approach. Nolan’s Catwoman is a different character than the one we might predict or are familiar with, and the theme of Hathaway’s character really compliments her role in this film.

Zimmer brings each layer in carefully with sticking to the Catwoman pattern, and if you listen until the end of the track the piece seamlessly blends into the next track ‘Underground Army’ which changes dramatically, a nice technique used by the producers WaterTower music in mixing this record.

Throughout the ‘Dark Knight Rises’ record we can hear many Hans Zimmer traits and an overall darkness and ‘Mind If I Cut In’ is an excellent example of how a character such as Catwoman can be redefined in music and on-screen.

Behind The Jam

Welcome to The Film Music Jam

My name is Adam, I am a Sydney-sider born and bred growing up in the western suburbs and it’s cultural and musical life.

I have had an obsession with film music for as long as I can remember and I want to share my knowledge and love with the wider community! On TFMJ I will be reviewing and discussing music on film, television and gaming soundtracks from all different genres and composers.

TFMJ is designed to provide a perfunctory and concise discussion of the score behind a film in relation to the characters, director, actor/actress’, record company and of course the great composers. TFMJ explores the way these scores make us feel and the musical design behind these soundtracks, the history behind the composer, the relationship these composers have with the directors, actors and actresses and the way in which the score shapes and defines a character on screen.

The Jam features a different soundtrack every week and is designed to be read with ease, providing you with an overview and insight into the soundtrack.

Hit me up on my Twitter handle, give me your thoughts and ideas and get in touch.

Get your fix of The Film Music Jam right here!!

This Is The Way

The Mandalorian was the trademark T.V series which helped Disney PLUS launch into the world and rightly so, this show attracted many Star Wars fans. Swedish composer Ludwig Goransson, who is well known for his work in Creed, Black Panther and also his work with Childish Gambino produces a fine western-style theme for the Mandalorian provided the basis for the character Mando and his adventures.

Goransson begin’s with a subtle woodwind introduction creating a lot of mysteriousness which slowly creeps up into the theme which we often hear throughout the show. The piece really brings out the idea that this is (like most fans believe Star Wars to be) a space western, as we follow Mando on his adventures through space. The pulse of the bass provides the grit needed for a character like Mando and Goransson’s use of the strings is excellent. A pure sound of the cello and contrabass is so vibrant as the piece produces more layers.

This composition almost makes you want to put on your boots, start up your ship, throw baby Yoda in his floaty pram and head out to space for some bounty. Goransson really nails this theme and through the album of the first episode there are a number of gems including ‘Face To Face’ and ‘The Asset’. Well composed music for a T’V show directed at not only kids but families in general.

From ‘Hey Mando’ to ‘The Mandalorian’, the Chapter 1 soundtrack is a well polished ensemble which really grasps you from the moment you hear the bass drum and the strings kick into rhythm.