The Chorus (Les Choristes) Review

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The Chorus (Les Choristes) ReviewUntil recently, I had never heard of the French film LES CHORISTES. I only became familiar with it when I was driving and heard a report about it on NPR. A film critic considered it a rather bad movie with a bad plot, and mediocre music. Yet the movie is a blockbuster in France, the soundtrack is a bestseller, and it will probably have some success in the United States as well. In the report, they played a few excerpts, and it caught my interest. I purchased it, and can see why it has such appeal.
The soundtrack is a collection of a few themes worked and reworked which is not uncommon for movie soundtracks. The music is simple enough that it would likely enhance the film while not taking way from the action. The instrumental music is enjoyable, but the real gem of the collection are the tracks with the boy chorus and especially the tracks with soloist Jean-Baptiste Maunier. There is a beauty and innocence to the boys' choir voices, which is in sharp contrast to the reality of the young people in the film who happen to be in a reform school. It also seems like the sort of soundtrack that can be enjoyed without seeing the film, and for many of us who will have to wait until it will appear to be a money making film, we will have to settle for the soundtrack only for the time being.
Until I see the film, I cannot say if it is truly an insipid story. Since I love a good sappy film, I will probably enjoy it and am anticipating its release in Boston. Yet I know that many wonderful films that are a joy to watch have rather weak stories, but excellent musical scores make them memorable and moving. Judging from this soundtrack, the music of LES CHORISTES has the potential to make the film memorable.
The Chorus (Les Choristes) OverviewThe Chorus (Les Choristes), written and directed by Christophe Barratier, is already a French cinema phenomenon. The modestly budgeted film about a music teacher in a post-war France who wins over the troubled students at a boarding school arrived in French theatres last summer with little advance hype. Defying industry expectations, this affecting tale proceeded to break box-office records. The soundtrack to The Chorus (Les Choristes) features performers by the Lyon-based Petits Chanteurs de Saint Marc and several haunting solo turns by 13 year-old boy soprano Jean-Baptiste Maunier, who also portrays the youthful protagonist of the film.

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Babel (Slip) Review

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Babel (Slip) ReviewFirst of all, I bought this CD for one song only and that is Ryuichi Sakamoto's Bibo No Aozora. When I heard it on the film, I knew I was going to get the soundtrack. It's such a simple song, but the cellos are undeniable! But along with Ryuichi's song, I also fell in love with Santaolalla's Deportation (which I am sure is the main theme of the movie). I listen to that song a lot more than Bibo. Although this is not a very good review because I mainly got it for two tracks, I recommend the album for it's diversity. 'Tu Me Acostumbraste' is so beautiful. You would not be upset. Santaolalla delivers in his originals, and the diverse styles has something for everyone I am sure.Babel (Slip) OverviewMOVIE SOUND TRACK PE

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The Fountain Review

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The Fountain Review...and I emphasize "film" because that is exactly what we have here -- the musical counterpoint to a motion picture. Being a pretty avid fan of the orchestral works that give life to their respective films, I've had a lot of chances over time to experience the contrast that exists between a score's function within a film, and a score as presented on album, as a separate musical entity dismembered entirely from the imagery it accompanies.
For me, Mansell's 'The Fountain' is truly special because, like so very few film scores, it is able to retain a sense of lucidity in the midst of its abandonment from Aronofsky's film. Granted, I found the film, visually, to be utterly stunning and unique; its images often powerful enough, on their very own, to evoke an uncommonly strong emotional response. Thus, the question that might be contemplated will be whether or not Mansell's score is in itself truly a work of greatness, or perhaps just a good score that happens to service a work of "visionary" (truly applicable) genius. And yet, there is really no way to answer this, because in the context of the film, Mansell's score, just as much as any other element, is an unrelenting force that propels and enhances each and every emotion being felt. I do believe, without any doubt in my mind, that 'The Fountain', as an album -- listened to without being acquainted with the film -- will not impress, nor affect, to any degree like that of someone who's absorbed the various ideas and sentiments gathered in experiencing the film. This, in many cases, could serve an argument in disfavor of Mansell's score as an illustrious composition, for I've heard a great deal of scores that, musically, are equally as potent an experience (often even more so) than that of their fusion with an un-scored film. To me, 'The Fountain' proves the exact opposite -- the only reason it works so well as an ALBUM is because the associations it so effortlessly evokes -- so intimately inborn to the images it nourishes -- are, literally, at the very hand [mind;ears;heart] of the listener who's experienced its intentions within the proper context. While I've seen this declaration thrown about a million times in reference to a film's score, 'The Fountain' stands at the very highest plane of that specific inclination.
This is an emotional score. On my first (and only) viewing of the film, much evaded my mind, but an affection that stayed intact amidst the confusion was that of a piercing to my heart. Much of the music on here brings tears to my eyes, and I don't mean to use that in the trivial sense; when I hear "Stay With Me" (which actually appears several times in the film), the image of Tommy, alone in his "bubble" amidst the vastness of space -- desperately clinging to The Tree of Life as its spirit slowly dissipates -- breaks my heart with its hopeful yearning crushed by a sense of devastating loss. During this, and other scenes in the film, Aronofsky so beautifully halts the pace, demanding a true ingestion of the feelings swirling around in ones head, and heart. Likewise, Mansell's score follows the same formula -- it is sublimely reflective, by which a sense of beauty and resonance develop; from that pensive but free-willed expression, a desperate affinity devours the soul.
Mansell's instrumentation is generally simple -- solitary strings and piano permeate amongst a celestial, bounteous ambiance -- a tact that provides at once a spatial isolation and (courtesy the weeping strings and tender, heartfelt piano), amidst that, a contrasting empathy for Tom and his universally Human quests in life, amidst such fateful circumstance. When its not floating in a pool of idle meditation, it remains melodic and, in its more driven moments, passionate and emotive a different kind of level -- a resilient crusade for more -- for IT. No track demonstrates this better than "Death is the Road to Awe", which also accompanies the most overwhelming montage in the film's (late) climax -- in the one moment of down-and-out orgasm, Mansell employs an absolutely impeccable use of chorale burst amongst a score that, until this point, had so respectfully restrained from anything close to that level of bombast. Because of this, and the cue's particular significance to Tom and his glorious moment of "awe" -- I am drenched in a final, loving relief -- an exalted feeling that follows the preceding hope, fear, and tragedy that has forever dwelled inside him, and the score; this moment usually makes me cry.
I'm rambling, and forgetting the limited word count.
See the film, then buy this album.The Fountain OverviewFor the soundtrack to writer-director Darren Aronofsky'slong-awaited sci-fi epic, The Fountain, Kronos Quartet reunites withcomposer Clint Mansell. The had previously collaborated on the hauntingscore for Aronofsky's Requiem For A Dream.

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Sigur Ros: Heima (2007) Review

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Sigur Ros: Heima (2007) ReviewWhat a great music dvd this is. I normally do not like music dvds, too often filled with preening and self-adoration. But this one is different, showing the geography and scope of Iceland and its people in a very fresh, low-key and brilliant way, as well as showing off the music and the relative humility and humanity (as well as talent) of the musicians. I bought my first Sigur Ros CD years ago, and hadn't any idea what any of them looked like. You get to see them here, but in such a humble, common man way it is really refreshing. You also see much of the ordinary people of Iceland and the massive, empty scenery of the place. Just beautiful at virtually every level.Sigur Ros: Heima (2007) Overview

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