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 “PTSD” 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 “PTSD” 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 in “Hypertension” 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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Unbow Your Head in If Beale Street Could Talk

How does one even begin to unpack the layers of brilliance on display in If Beale Street Could Talk?

How does one even begin to unpack the impacts of hundreds of years of institutional racism on African-American culture, and society as a whole?

“Unbow your head, sister,” Tish’s older sister (Teyonah Parris) tells her after the revelation that Tish (Kiki Layne) is pregnant…by Fonny (Stephan James)…who is in jail…unjustly awaiting trial for a rape he did not commit. There should be no shame when amongst family, when you are in love, and when a cruel world has stacked the deck against you. Tish should hold her head high because that child was born out of love, and she and Fonny would’ve been married had he not been unfairly accused. The epic emotional confrontation that happens next, where Tish reveals this to Fonny’s parents (his mother a spiteful holy roller), is a masterclass in directing, editing, and acting, with Tish’s loving family fighting fiercely in her (and Fonny’s) corner.

If Beale Street Could Talk is above all a love story, but not just a love story between Tish and Fonny. It’s also a love story about parents (Regina King in a crowning performance, and an equally unforgettable Colman Domingo) who always believe in their children. It’s a story about love, romantic and familial and communal, in the face of the most extreme adversities.

Barry Jenkins fulfills the promise of Moonlight and takes all of his artistic elements to the next level in his gorgeous adaptation of James Baldwin’s novel. Continue reading