Okay, first I’ll admit my bias. I like those big, sweeping scores that swash our
buckles. However, the intellectual side of me now ponders what Weir’s vision
for this movie actually is and if and how the music will support his vision. I don’t
know if I’ll be able to see this movie on opening weekend, but I look forward to
your views on the use of music in this movie. (Three composers listed and various
classical pieces utilized including Vaughn Williams.)

You know I didn’t care for Eastwood’s music in Mystic River. IMHO, it didn’t
support the depth of the tragedies. I’m now curious as to what Weir wants to
underscore or highlight in his narrative and if his music supports such emphasis.
Have a feeling that during the battles, I won’t hear anything remotely close to
Debney’s Cutthroat Island nor Badelt’s Pirates of the Caribbean. Both those
movies emphasized action, action, action. Will Weir’s music illuminate the internal
lives of the crew? Will it quietly play “against” the action as a kind
of irony? Does it work?

Looking forward to your assessments of a seafaring movie that doesn’t employ
typical seafaring music. Will atypical music provide us with a different
understanding of this movie?

quote:

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Originally posted by joan hue:
P.S. A long time ago I read that Weir’s main theme reflected in most of his movies
is to place an Ordinary Person into Extraordinary Circumstances to see
how his ordinariness deals with the situation. Interesting.

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It is more along this intellectual plane that the music is used. If we do have to find a main theme, a good example is in the primal eastern percussion, especially when applied to a vicious enemy disappearing in an out of thick fog. All people, ordinary or not, have a heartbeat, and as we watch, Weir's use of percussion like this takes over our heartbeat like a pacemaker, gripping us with fullness. Our reaction is unsettling, eerie. Perhaps we are, as viewers, Weir's ordinary people this time around?

quote:

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Originally posted by joan hue:
Okay, first I’ll admit my bias. I like those big, sweeping scores that swash our
buckles. However, the intellectual side of me now ponders what Weir’s vision
for this movie actually is and if and how the music will support his vision. I’m now curious as to what Weir wants to
underscore or highlight in his narrative and if his music supports such emphasis.

---

Thus far, it has been a decent listen. It's definitely not in the usual, rousing, brawny swashbuckling mold. More moody and definitely lives up to the term "Underscore" which for a movie like this might work. (Whereas the CUTTHROAT music is great on CD, but often threatened to drown out the movie it was in, though the movie it was in was atrocious I grant you; ditto the repetitive and largely uninvolving PIRATES music, which has to rate as a real low point IMO in the Badelt/Zimmer canon).

I'd equate it to a cross between some of Revell's stuff for DEAD CALM (none of that breathing/chanting, but the same sense of rythmic suspense/unease looming in the background) and what Vangelis did for 1492, THE BOUNTY, etc. (no synths, obviously, but that same kind of ethereal "bigness" without using huge brass, choral, and the accoutrements of a "big score" we've come to know).

I've only listened to about half the album thus far b/c I've listened to it while going to bed and have fallen asleep about five, six cues in every time. (No mark on the music, I assure you, just my sleepin' pattern.) The "source" stuff -- the classical, the violin-fiddle type stuff -- is quite nice, especially on repeated listen.

This music, while it certainly won't send anyone out into the aisle humming and "yo-ho-ho"ing does actually make me want to see the film more than any of the advertising thus far has. (While i like Weir and Crowe, the movie just has "not nearly as thrilling as it seems Oscar bait" written all over it.)

MS

NP: FLOOD- Jocelyn Pook

Attention Timmer:

PeterK and Mills, I appreciate the analysis of the music. Big Thanks!
I imagine it would sound best or most effective when tied to the movie instead
of a stand alone, but I’ll find out when I see it. It was sold out tonight.

PeterK, I’m sure Jack won’t fit the narrative theme used in other Weir’s films, but
I think the crew, especially the very young crew members are probably ordinary
people plunged into extraordinary circumstances, but at least this time they’ll have
a heroic leader which wasn’t true in other Weir films.

The classical pieces on the CD make for an unquestionably more powerful listen after seeing the film. Without associating any of this music with image or story, the CD is just a collection of folk tunes, classical pieces and a few original score bits. No one will buy the CD for its outstanding selection of classical works - people are more likely buying this CD because they were moved while watching the film.

For score fans, I would love to suggest everyone buy the CD first and give it a listen or two (or three) before seeing the movie. Then go back and listen to it again after seeing the film.... it's an entirely new experience.

Many review sites have posted comments about the CD without having this second experience. I believe there would be no negative comments or warning about the CD after this second listen.... the album really is the essence of what a soundtrack should be. It helps that Peter Weir knows how to use music, too. Great film.

I was thinking how very different this was from Pirates of the Caribbean and
Cutthroat Island, so the music would be different. Because it is about ship life,
military, and duty, I thought the human drama was a little like Mutiny on the
Bounty, although the stories are totally different. And I thought of Kaper’s
wonderful score to Mutiny on the Bounty. I just felt that the music
in Master and Commander was too sparse and that “maybe” a seafaring theme
like Kaper’s would have fit in places.

***** SPOILER *****

What was the music when the doctor see's the Acheron when he is looking at the beetle? That fast violin motif. Is it score? The cue also plays over the end credits.

***** END *****

I have no doubt this score plays well on CD...but that is second on my list of criteria for what makes a good score.

Thank you, that's exactly what I thought you meant. And why it's a 'compliment' to the director {hah! } and a non-compliment to the composer.

******************************************************************

I very much enjoyed the quieter moments of the film...fleshing out the characters as real people. Perhaps it was just me, but even with this added character depth I could not attach to them.

In the end the film feels a little schizophrenic...but as I said, I think it will grow on me after a couple more DVD viewings.