elegant compositions for elegant films
934440
richard robbins writes a type of film music like phillip glass and michael nyman.  the exception is that robbins' work is lighter in texture than either of his contemporaries.

this triptych shows off the very best of his contributions to the merchant-ivory works.  i have yet to listen to 'a room with a view', but i have thoroughly enjoyed 'maurice' and 'howards end'.

both scores feature lyrical, singing melodies that compliment the tone of the scenes in which they are used.  robbins also writes clever source music that is perfect in its evocation of popular music of edwardian england.  for example the tango in 'howards end' is delicious; the pianola music for the pub scene in 'maurice' is jaunty and full of personality.

both scores also use clever selections of classical music as further evocation of the period in which these films are set.  they let us, the audience, know how people listened to classical music at another time.  the experience was much like playing favorite tracks on an mp3 player these days.

fabulous accomplishment!
799361
Good sound, great music compositions. It is worth buying this excellent CD. Price is definitively affordable to anyone who love good movie music.
190307
James Newton Howard has always been a favorite composer of mine, but I especially like the work he has done for this film. There is a maturity to the themes, especially for the Quarter Qwell, that I appreciate--it truly serves to balance this outstanding film. I am looking forward to and will certainly purchase the scores for the 3rd and 4th films in this series. He nails it.
3797075
Coming with a synopsis of the plot of the film this CD evokes images of beauty, romance and life itself and the array of tunes bubbles out of your stereo. Having fallen in love with the film the first time I saw it and having also started trying to explore the world of acoustic guitar - which features prominently in the film and on this disc - it was a given that I'd eventually score myself a copy of this aural accompaniment to the Woody Allen flick.

Those of you who have watched the film a number of times will rejoice in being able to recognise what scenes the various songs came from and if you enjoy the tunes here, well, you are in luck as full credits have been given as to the song titles and performers so you can use this CD as a springboard to further exploration of this style of music.

Really the only tune here that doesn't work for my mind is the lead cut Barcelona which for me is a touch too twee to survive on it's own outside the context of the movies opening scenes. But that is a minor quibble and is more than made up for given the useful liner notes and overall feelings evoked by the other numbers.

For heavens sake stop reading this review and buy the album!
4210432
I love film music, but in recent years I have become more selective about the scores that I purchase, because if I bought every score I remember enjoying in the body of a film, I would go broke real fast.  Plus, a lot of times something that is great in the film will not stand up to repeated listening on its own.

With SLUMDOG MILLIONAIRE, though, I knew I had to buy the CD as soon as the movie was over.  When I got home from the film, I was annoyed to discover that Amazon (usually my go-to place for items of this nature) was estimating it would take a longer-than-usual time to ship the item (2 to 3 weeks if I recall correctly at the time that I originally checked.)  This was encouraging, as it probably meant Amazon has had a lot more orders for it than they expected, but still, I wanted it sooner.  Therefore, I was extremely happy that my theater was selling copies of the CD in the lobby and picked up a copy the next day when I returned there to view another film.  The music stayed firmly in my head for the 30 hours or so between my first viewing of the film and the time when I was able to toss the disc in my CD player, and it did not lose any of its luster in that period.

The score is extremely bold and wholly unique, and it truly takes the film to another level.  Sometimes, even though a score is quite good, there is nothing which suggests to me that another composer could not have done an equally good job.  (The last couple of HARRY POTTER scores not by John Williams are an example of this; they are both enjoyable listens that work for the film, but had Williams decided to score those movies too instead of dropping out of the franchise, his score would have been equally good.) In the case of SLUMDOG, however, that is not the case.

There is no doubt in my mind that the score would have been much less interesting and supportive of the film if it had been done by anyone other than A.R. Rahman.  The music here lends an electrifying kenetic energy to the film which, along with its quick-cut pace, keeps the story moving along incredibly well.  Because it sounds so different from the type of score we are used to from Hollywood blockbusters, there is also a sort of otherworldly appeal to this music, which immerses you even more completely in Danny Boyle's wonderfully realized vision of India.

The album also plays wonderfully without the film, reminding you of the movie but also taking on a life of its own in your mind.  I have had it for a week and it has not yet left its residence in my CD player.  I don't imagine it will for a long time to come.

This is essential stuff and easily the most unique score of the year.  If you've seen the film, you know how significant it is; if you haven't, go see the film and you'll fall in love with every aspect of it, including the music.  And then you'll want to buy this disc.  You won't regret it.
2925844
This is a collection of tranquil pieces (not "songs", which, by definition, must have vocals) and individual movements excerpted from larger classical works. All of the performances are at least good, some excellent.  Especially satisfying are the Barber and Faure.  As this recording shows, David Zinman is an outsanding interpreter of Barber while Dutoit handles the Faure with the style, polish, and grace that this music requires.  Although the "Pavanne" was originally composed as an instrumental piece, a year after its composition Faure adapted it to fit the text that is given on the CD. He would hardly have been insulted to find a choral version of this work.  In fact, given Dutoit's elegantly understated performance, he would probably think his music well served.  Also recommendable from this disc is Solti's excerpt from Mahler's 5th and Kennedy's rendition of Massenet's "Thais." In a nutshell, if you are interested in exploring some very enjoyable (if not totally on the beaten path) music, this set is an excellent choice.
4074002
The FROM RUSSIA WITH LOVE soundtrack is an example of exceptional film scoring and a very satisfying album drawing on all the elements of the film's score to deliver a product that musically runs the gamut of rhythm, romance, intrigue and flavorful vignettes of the film's locale. FROM RUSSIA WITH LOVE is considered to be one of the better Bond films in the series. John Barry began his "official" scoring duties in tandem with his screen credit on FROM RUSSIA WITH LOVE bringing a highly recognizable and definitive substantiating sound to the Bond series that distinguished it with his unique and inimitable musical style. That has been a hallmark, which brings a cohesive quality to the whole series even in Barry's absence. John Barry not only firmly incorporated his prowess as a film composer with this soundtrack but also demonstrated his ability to establish his own unique sound on compositions composed by others. "From Russia With Love" from track 1. and "Bond Meets Tania" from track 6. with a melody composed by Lionel Bart inimitably have that "Barry Sound" stamped on them. Once again Barry also demonstrated his unique musical handling of "The James Bond Theme" on track 14. with "James Bond With Bongos" while his "007 Theme" heard on tracks 7. and 18. bring a staccato and drive to the force of this James Bond classic. One of my favorite pieces on this CD is Track 13. "Man Overboard - Smersh in Action" which captures both the beauty and suspense ever present in the world of 007.
3884740
It is easy to take this recording for high-class wallpaper music.  It is elegant, hip, and relaxed. What one may miss behind that shimmering surface with its appeal to the tunes of the past, is the ambition and daring of these musicians.  The saxophonist/clarinetist, Mulo Francel, mostly conceals an impressive virtuousity in the service of more interesting effects.  He brings sounds of astonishing timbres out of the six horns he plays. The instrumentation of horn, accordian, guitar, and percussion/bass lends itself  to a wide range of effects. The arrangements of the tunes show a creativity equivalent to that of new compositions (as indeed four are credited to band members). At present the band's other recordings appear to be available principally at their own web site.  I myself plan to head for them soon....
2712237
Though hard to find, this elegant effort by Claus Ogermann is an ingenius blend of modern classical and jazz composition. Though extremely approachable to the causual listener it combines the sophistication of thoughtful structure and excellent performance by an eclectic group of extremely talented musicians.
1802515
This song is one of the more elegant songs on the soundtrack. The song heavily features the piano theme that is heard at the beginning of the third trailer. The theme is simple and beautiful, played softly on the piano for the first few seconds. The tune presents, because it is a theme for Clark Kent, a lighter side of the Man of Steel that is touching and emotionally driven. The piano section then is combined with other instruments and the music receives more layers, each just as quiet and elegant as the last: from fast-paced, quiet strings to a xylophone-like instrument. Then, in the last minutes the drums come into the mix, not loudly, but noticeable. After a few seconds of the quiet drums, the drums have a quick spurt of loud time before closing out with an electronic, mysterious sound. On the whole, the track is quite varied, as it is plainly seen. However, the combination adds a lot of who Clark Kent is into one piece. Kent is still that soft, innocent child while he is also becoming a man, and a man that will someday save the world. I think this track elegantly and brilliantly captures that essence because it combines several key Superman themes and makes them one song, like the one man who is both power and compassion.
743157
Spadoni's book fills a need in film studies: a broadly applicable text for formal analysis that provides a cohesive overview of film terms and concepts. Per its title, A Pocket Guide to Analyzing Films delivers concision rather than in-depth explanation. As such, it serves as both an approachable introduction to film analysis and a quick refresher on the subject. Ultimately, the book features the rapid-reference benefits of a film-term glossary as well as the formal-analysis context of a traditional film-intro text (in addition to an introduction and conclusion, organizing chapters include "Film as Form," "Film Narrative," "Mise-en-scne," "Cinematography," "Editing," and "Sound"; each of these has detailed subsections). Further elevating it beyond a glossary is the abundance of stills -- A Pocket Guide includes numerous images, providing a visual framework to ensure better understanding and retention; nearly all of the terms and concepts have corresponding screen captures, and many have more than one in order to capture a multiple-shot effect of editing, for example.

A Pocket Guide to Analyzing Films is written in a clear, conversational style that engages the reader rather than repelling him or her through opaque jargon. The book also achieves approachability through the inclusion of popular blockbusters -- serving, too, as an appropriate validation of their worth as objects of analysis -- alongside a diverse selection of classic, international, and experimental films, as well as print and television advertisements. Films by Spielberg, Soderbergh, and Abrams sit comfortably alongside those of Brakhage, Maddin, and Resnais. Another key element of the book's accessibility is its price, especially considering the glossy pages and number of images, many of which are in color.

Robert Spadoni's A Pocket Guide to Analyzing Films is recommended for undergraduate or graduate students seeking to acquaint or reacquaint themselves with core film-analysis concepts and terms, regardless of the specialization of the course of film study. In turn, it is recommended for film instructors as a quick and effective text to orient around.
1610706
I'm pretty much in full agreement with the pair of reviewers who preceded me here. This is a fine cross-section of Mancini music for film and television, including themes from Mr. Luck, Peter Gunn, Hatari, The Pink Panther and Breakfast at Tiffany's, plus several more. Many of the selections -- Moon River and Charade, for example -- are of course songs, and they are rendered not purely instrumentally but with the addition of the Henry Mancini Chorus. For me the best track is the Arctic Whale Hunt from The White Dawn; it's four minutes of stirring delight. As one would expect, the Cincinnati Pops under the (sadly now departed) Erich Kunzel provide skilled and shining performances from start to finish. Recommended.
2473131
Recently I discovered a rare motion picture score of a long forgotten monumental film "THE GREATEST STORY EVER TOLD".
I don`t know if the movie is still "being show on tv circuits" nowadays. The film soundtrack however unfortunately is no longer available, only in certain antique shops perhaps. What fascinates me here is the breathtaking way the composer illustrates each scene so brilliantly. As if one could actually see what happens on the screen. Close your eyes, listen to the sound and you actually can "see" "THE GREATEST STORY EVER TOLD"
A masterpiece by Alfred Newman
3671755
This disc is a mixed recital of minimalist compositions featuring works by Adams, Glass, Reich, and Heath (a new composer for me).  The pieces are beautifully played by the London Chamber Orchestra under Christopher Warren-Green.  This music is worth exploring, but be forewarned that not all of these pieces are immediately appealing.
1834277
I only downloaded a few of the more "iconic" pieces from this soundtrack, but the music is excellent and the whole composition is well done.  It captures the feel of the movie so well, painting the story imagery with sound.
1141305
The music in this film is so exceptional that one finds himself "aware" of it as the film progresses.  The music does not distract from the experience but adds immeasurably to it.  More often than not, score music is simply spacing between scenes or background noise . . . not the case with this outstanding selection of cuts.
3963461
Although I am a huge fan of Philip Glass' work, and I was very disappointed that his score for _The Hours_ did not win an Oscar, Eliot Goldenthal's score is a worthy competitor.  Unlike many film scores, this one bears repeated listening.  "Burn It Blue" in particular is a breathtakingly dramatic piece of work and the highlight of this score.  If the rest of the score lived up to "Burn It Blue" then there would be no question in my mind that this score was the most deserving of the Oscar.  Some of the weaker numbers, in contrast to the consistently strong work of the score for _The Hours_, make this a less compelling work.  However, the members of the Academy of Motion Picture Arts and Sciences are notoriously conservative, and, in the final analysis, the score for _Frida_ is more accessible than that for _The Hours_.  Given the difficulty of Glass' music, it is no surprise that the score for _Frida_ won the Oscar.