Tag Archives: Alexandre Desplat

My Favorite Film Scores

It’s been two weeks since I experienced it in the theater, and I still can’t get Barry Jenkins’ If Beale Street Could Talk out of my mind.  It’s the best film of 2018 and one of the best of the decade, by the way.  I encourage you to see it in a theater with someone you love and then tell everyone you love about it.

One of the big reasons it continues to haunt me is Nicholas Britell’s extraordinary score.  The themes he created (especially “Eros” and “Hypertension”) ear-wormed their way into the ever-present background music of my mind, and when they work their way to the forefront…Barry Jenkins’ images, James Baldwin’s characters, the performances, and most importantly, the feelings all come rushing back.  When I first heard “Eros” in the theater in the context of a poignant love scene, I instantly thought, “This might be one of the best film scores of all time.”  Then there was “Hypertension” like a hammering heart building up to a panic attack in the background of that scene where Fonny’s friend, fresh from prison, slowly reveals his thoughts on his brief stint in prison and the worst part of it…the fear.  It’s echoed later when a racist cop harasses Fonny and Tish outside an Italian market.  You feel the fear not just through the characters, but through Britell’s music.  I knew right then, indeed, Britell had composed something for the ages.

My favorite film scores often mirror (and elevate) my favorite films.  They can’t be extracted from the context of the film they help breathe deeper life into.  When I hear the music in my head, images and feelings from those beloved films rush through me.  Memories from my life at the time I first saw the film, or from ensuing years where thoughts of the film or revisits punctuated pain, joy, and transitions often mix with the memories of the film.  All of it forming a rich tapestry or sound and images and feelings. Continue reading →

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Battle of the British Biopics: Mr. Turner, The Theory of Everything and The Imitation Game

Below is The Spin on three end of the year awards hopefuls…all British biopics about tortured geniuses that when viewed together represent the best and worst of classic Oscar-bait.

Mr. Turner

First up is the finely pedigreed Mr. Turner from Academy darling writer/director Mike Leigh detailing the waning years of famed eccentric proto-Impressionist maritime artist J. M. W. Turner.  The film contains a lot of what one comes to expect from a Leigh project: Timothy Spall superb in the lead role, gritty yet refined attention to realism, fantastic supporting turns from a sometimes improvising cast, and excellent dialogue (the dark, dry, British humor runs delightfully amuck here).  The film also contains some surprises, most notably the perfectly lit cinematography from Dick Pope who photographs the film like a moving painting, masterfully capturing the scenes and environments (the approach of a retired warship he would later paint coming into harbor while Turner and his friends row out to meet it is fantastically rendered) that inspired Turner’s art. Continue reading →

Godzilla vs Great Expectations

Godzilla 2014

I grew up watching Toho’s many incarnations of Godzilla.  I loved Godzilla – especially the 1989 Godzilla: Monster of Monsters Nintendo video game.  I loved all of the films too, from the iconic 1954 Gojira original to the ridiculousness of “Baby Godzilla” blowing bubbles to the overly melodramatic Godzilla 1985 to the righteously badass Marv Newland animated student film Bambi Meets Godzilla (for the love of god, Youtube it) – still my favorite in the canon, and in that one we only ever see the monster’s foot, so quit your whining about his 2014 screen time!  Because of its Japanese origins stemming from real nuclear horrors, it was an inherently silly franchise that somehow always carried some weight, or the illusion of weight…as if it was far more serious or important than it really was.  Also our fond memories of watching it as children fogged the reality of its natural stupidity.  For some ungodly reason, fans still reeling from the rape of Godzilla in 1998 placed insanely lofty expectations on this latest film incarnation thinking that this Godzilla had to be something more – it had to match our fantasies…it had to be everything we ever dreamed of.

In steps Gareth Edwards, indie director of the silly emo but shockingly effective character drama, Monsters, that had two unlikely people falling in love while trying to get out of Mexico – a Mexico that just happened to be under quarantine due to some rampaging giant walking…squids?  It was a fun little genre mash-up.  Continue reading →

The Art of Style as Substance in Enemy, The Grand Budapest Hotel, and 300: Rise of an Empire

Style as Substance Example Number One: Enemy

Enemy Spider over Toronto Skyline Poster

Denis Villeneuve’s Toronto-set artsy psychological thriller, Enemy (based on Jose Saramago’s novel, The Double) is one of those rare films of exacting creeping style that elicits audible gasps from the audience.  Jake Gyllenhaal plays a mild-mannered university history professor who repeatedly lectures about the dangers of losing one’s individuality under totalitarian regimes and muses over the cyclical nature of history and the rise of these totalitarian states – first viewed as tragedy, later as farce.  The man oddly hates films, but he’s urged by a colleague to watch one in particular, and there he spots in a bit role as a bellhop his exact double.  It’s not long before he becomes obsessed with tracking down his doppelgänger.

Enemy Location Shot

The first audible gasp (coupled with nervous laughter) was unique to the location where I saw the film.  Enemy is boxed in by mesmerizing sepia-toned cinematography – grand scanning images of the Toronto skyline (never before used more monotonously menacing in a film).  For those who have never been to Toronto, it’s a blisteringly modern landscape riddled with areas constantly under construction, giant cranes towering in the sky dangling precipitously over highway off-ramps next to skeleton frames of new office or condo highrises.  Villeneuve (Canada’s premier auteur) perfectly captures this along with the city’s cold lakeside white-washed sheen (either by salt and snow in the winter, or heat in the summer – tinged deliberately yellow here by his camera).  I had the luck of seeing the film while working in Mississauga, Ontario – a suburb of Toronto with its own unique skyline (highlighted by the famous Marilyn Monroe Towers, surreal condo highrises with hourglass shapes) also featured in the film.  I experienced it at a Cineplex in downtown Mississauga right down the road from those lovely towers.  When Jake Gyllenhaal’s character discovers the home address of his exact double to be on Rathburn Rd. West (unbeknownst to me prior to this in-film revelation, the very road upon which we sat watching the film!) the laughter and gasp from the small audience was priceless, and I suddenly felt as if I was a part of this unnerving conspiracy as I could see Jake Gyllenhaal’s double’s apartment from the parking lot of the theater! Continue reading →

Evolutionary Melodrama and Triumph of the Human Spirit in Rust and Bone

Rust and Bone

Like Melville’s great white whale or the dogs in Amores Perros, the orcas and puppies in Rust and Bone (De Rouille et D’os) are meant to be symbolic. Here in Jacques Audiard’s audacious new film they represent the unpredictable id of nature and the strained relationships of the ego-driven humans who interact with them. Brilliantly, all is foreshadowed in the opening credits shot like a dream…or is it a nightmare? But there’s a constant movement and a focus on legs with somewhere to go. Life is fluid and on the move. We are all travelers in this drama.

Alain (Matthias Schoenaerts, in another physically demanding performance following last year’s Bullhead) is a Belgian man living on the fringe with his five-year old son, Sam (Armand Verdure), and who eventually hitchhikes his way to Antibes where his sister Anna (Corinne Masiero) takes them in. There Alain finds random security gigs while plotting a return to underground fighting. One of his gigs is at a nightclub where he first meets Stephanie (Marion Cotillard, a revelation), an orca trainer at a local resort starving for real human connection.

Continue reading →

Growing Pains: Ted vs Moonrise Kingdom

A teddy bear and his hookers.

In this corner – the weekend’s number one film at the box office and Seth “Family Guy” MacFarlane’s first foray into film – Ted.

A director and his children.

In the other corner – the critically acclaimed sleeper hit for the hipster arthouse set, Wes Anderson’s Moonrise Kingdom.

The first film I wanted to like a lot…but didn’t…while the second film I wanted to dislike a lot…but didn’t. Strangely they suffer from the same troubling underlying theme (the old more of the same bit), though one film is clearly better at overcoming that flaw than the other.

First up – Ted. It’s a simple sellable concept – boy wishes teddy bear could talk, wish comes true, teddy grows up into foul-mouthed pervert, hilarity ensues…right? Hilarity should be ensuing. Waiting….waiting…. Oh, wait, a fart joke! The movie starts out charmingly sarcastic enough, a kind of riff on those magical wish-fulfillment kids’ flicks from the 1980’s (that I hated) complete with Patrick Stewart narration. After the credits finally roll (featuring a pretty funny montage), MacFarlane attempts to translate all of his patented animated schtick to live-action complete with 1950’s-style music.

Continue reading →

The Ghost Writer

A nameless writer (Ewan McGregor) is hired to finish the autobiography of the shamed former British Prime Minister (Pierce Brosnan) after the first man on the job dies under mysterious circumstances in Roman Polanski’s adaptation of Robert Harris’ oh-so-timely political thriller.  Polanski uses the contemporary thriller to play on his classic theme of a man pretending to be an artist (or is it an artist pretending to be a man?) getting in way too deep and swept up into events much larger than himself.

What a treat it has been for cineastes this bitter February (normally the harshest of months for fans of the art form) as we’ve had new entries from filmdom’s greatest living masters, both putting their own stamp on the Hitchcockian thriller: Martin Scorsese’s bombastic and psychologically disturbing Shutter Island and Roman Polanski’s subtly handled political potboiler, The Ghost Writer.  Continue reading →

The Greatest Living Film Composers

Recently I couldn’t decide if I wanted to write a scathing critique focusing on the banality of the painfully quirky (500) Days of Summer or pen a love letter to The “feel good” Final Destination where we gleefully watched ridiculously good-looking and stupid young people die in unfathomably moronic and elaborate stunt-deaths — in 3D no less! — but neither film really warrants such efforts or talk.  In times like these when searching for things worthy of writing about, my thoughts turn to my blog’s old stand-by and most popular feature:  The Greatest “Blank of All Time” Lists.

I’ve toyed for quite some time with doing a list of film’s greatest cinematographers — which, by the way would look something like this:  Conrad L. Hall, Freddie Francis, Roger Deakins, Sven Nykvist, Caleb Deschanel (Zooey/Summer Finn’s accomplished father), Robert Elswit, Emmanuel Lubezki…but I digress — Continue reading →

A Review of “The Curious Case of Benjamin Button”

Cate asks Brad, Can we please be movie stars, even if just for today?

Cate asks Brad, “Can we please be movie stars, even if just for today?”

Nothing Lasts Forever, 28 December 2008
9/10
Author: David H. Schleicher from New Jersey, USA

On a cold night on the eve of WWII in Russia, a diplomat’s wife (Tilda Swinton) shares tea with a most peculiar tugboat man named Benjamin Button (Brad Pitt). When she asks him where is he from, Benjamin replies, “New Orleans…Louisiana.” Swinton’s character replies, “I didn’t think there was any other.”

This moment comes about forty minutes into the film which has been established on the grounds of a woman (Julia Ormond) reading to her dying mother (Cate Blanchett) from the diary of Benjamin Button as Hurricane Katrina sweeps over New Orleans. The ghost of a New Orleans now lost haunts David Fincher’s lyrical adaptation of F. Scott Fitzgerald’s short story about a man who ages backwards. There’s no denying this film couldn’t have been made five years ago, not only because the technology wasn’t there to make the process of aging backwards look real, but it would’ve also been a completely different movie as screenwriter Eric Roth wouldn’t have been able to bookend the film with Blanchett on her deathbed as Hurricane Katrina comes to literally wipe away her life. The story is hung on a gimmick, and the film told as a fable, but there’s grounding in the reality of life’s greater mysteries that speaks volumes about not just the death of a man or a woman, but the death of a city and the death of a way of life.

A big part of making the audience believe in the story falls on the film’s technical aspects: the make-up, the CGI, the period-piece details of the film’s set designs and costumes. If you look close enough, you can find things to nitpick, like the distracting disembodied voice of Cate Blanchett distorted onto a little girl, but for the most part Fincher constructs it all seamlessly. In terms of scope and sentiment, The Curious Case of Benjamin Button seems a complete departure for a director usually obsessed with darker more violent tales, but Fincher has always liked his plots to begin (think Seven or Panic Room) or end (think The Game or Fight Club) with a gimmick, and he’s always been a filmmaker obsessed with cutting-edge technology (think of the VIPER camera used to film Zodiac). Fincher does a superb job with his meticulous construction of these elements (complimented nicely by Alexandre Desplat’s subdued score), and he really wins the audience over with his flashbacks within flashbacks that are done in a charmingly stylized manner that remind us we’re watching a movie that’s meant to be enjoyed above any other pretense.

By shifting the central location of the story from the original setting of Baltimore to New Orleans, Roth opens the film up to a new layer of interpretation. Though the episodic tale of Pitt’s Benjamin growing younger while Blanchett’s Daisy grows older spans the globe from Manhattan to Russia to Paris, the characters’ hearts remain united in New Orleans. Roth, who also penned the thematically similar Forrest Gump peppers his screenplay with many momentous events from the 20th Century, but those moments ebb and flow through Benjamin’s life just as the other characters do showing us that life is made only of moments. None of them last forever.

The supporting players (including a gutsy performance from Taraji P. Henson as Benjamin’s adoptive mother who runs a nursing home) are wonderful and allow Pitt and Blanchett to shine as the movie stars that they are. Sure, these two have probably given better performances elsewhere, but here they have been given roles for which they might be best remembered long after their star-power has dimmed.

In a year when the films with the most impact (like The Dark Knight) have been those that have tapped into the fears and mindset of the times we live in, it’s rather fitting that a movie like The Curious Case of Benjamin Button comes along at the end of the year. It should be one of those movies that hold audiences rapt in hushed silence, but it’s also the type of movie that usually receives instant backlash. I wonder how it will stand up over time. On the surface it attempts to tell a timeless tale, but in a bittersweet way proves the opposite. Movies stars like Pitt and Blanchett, movies like this, stories, fables, dreams, cities like New Orleans…none of these things are timeless. Timelessness is just a flight of the imagination…like the idea of a man aging backwards.

But what a wonderful flight it is.

Originally Published on the Internet Movie Database.