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The Man Who Wasn't There - OST
 
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The Man Who Wasn't There - OST

6 Nov 2001 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
Song Title Artist
Time
Popularity  
30
1
1:17
30
2
3:33
30
3
1:18
30
4
1:15
30
5
1:03
30
6
1:57
30
7
0:42
30
8
5:12
30
9
2:29
30
10
3:01
30
11
1:04
30
12
5:33
30
13
3:51
30
14
13:28

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Product details

  • Label: Decca Music Group Ltd.
  • Copyright: (C) 2001 Universal Classics Group, a Division of UMG Recordings Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 45:43
  • Genres:
  • ASIN: B002X3LT7A
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 102,732 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

5 of 6 people found the following review helpful By "timgomersall" on 9 Dec 2001
Format: Audio CD
OK, so aside from the classical pieces imported into the soundtrack (all great, and entirely appropriate to the tone and content of the film) there's only really one theme here.
But what a theme.
The Trial of Ed Crane is a truly beautiful piece of music, which is oh so sad but somehow uplifting. Apart from ending rather suddenly, it's the perfect soundtrack tune, magnifying and complementing its film perfectly.
Those four minutes are worth the purchase price alone, but when you add the Beethoven, the Mozart and the other Burwell stuff, it becomes a bargain. Must have for Coen-fans who like their music.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 11 reviews
5 of 5 people found the following review helpful
re: Carter Burwell, Perfection, Disapointment, and Noir 5 May 2003
By "cogito_ergo_sum" - Published on Amazon.com
Format: Audio CD
If you can't seem to find enough merit to this soundtrack to label it impressive or at least concede that it has managed to weave film noir and classical music together in a tapestry of dark, rich, soulful bittersweetness, then you have obviously missed something. Let's not linger too long in thought on it.

Context, folks. Put it in context. Soundtracks are not composed and arranged as stand alone albums, but rather as the rhythm to which a movie is played out. Within the confines of these cinematic constraints, the album manages to wriggle and squirm enough to accomplish what other soundtracks fail to do: it becomes more than background noise, and writes itself into and becomes indispensable to the film.
I am not afraid that I must disagree with whomever contests that expecting only perfection, we are never disapointed. On the contrary, high hopes and high expectations lead mostly to disapointment, as anyone who has expected this much from anything could tell you.

The soundtrack has the flavor of noir, that mysterious, twisted edginess and allure. Burwell's contributions stand out. While acting as critic, please don't make the mistake of comparing this soundtrack to purely classical renderings. To do this would be like comparing great tea and excellent coffee and complaining that tea makes a horrible cup of joe. Classical musicians make their money by interpreting others' pieces and playing them with precision. This is not the case when arranging pieces and composing your own score. Hats off to Burwell.
If you enjoy the novelty of original and compelling music, buy this album now. Conventional classical enthusiasts beware.
5 of 5 people found the following review helpful
Carter Burwell does another swell job on this one. 14 Aug 2002
By J. Munyon - Published on Amazon.com
Format: Audio CD
You might know Burwell best for his score on Fargo but 'The Man Who Wasn't There' is another solid job by one of Hollywood's best composers.
While nearly half of this cd focuses on some songs by Mozart and Beethoven, the score is solid. You will hear the main theme played four different ways on this score but they are all splendid, a melody that is somewhere between the description of relaxing, beautiful, and dark.
Another Burwell cd I highly recommend is Hamlet. Hope you enjoy either of these cd's if you pick them up in the future. I know I have. Enjoy!
3 of 4 people found the following review helpful
My my my, look at all the negative reviews... 22 April 2002
By C. B. Newman - Published on Amazon.com
Format: Audio CD
In a perfect world, all soundtracks would contain the scores and diegetic music the screenwriter and/or director intended to be heard in the cinema. In a semi-perfect world, the recordings themselves would a heavenly digital transfer of the original recording sessions. And in an imperfect world, the album would contain all of the sounds and music viewers enjoyed from the film.
After listening to the album, I disagree with the rancor of other reviews of this album. The technical points hold merit, but the distraction is non-existent for the non-audiophile. As a Doors fan, I was initially dissapointed to learn only a handful of the some 30 odd Doors songs in Oliver Stone's film did not make the film soundtrack. "How could they do this!" And after buying "The Bandit Queen"'s soundtrack, I was suprised to find most of the music was a derivative of the actual film score. Do these complaints sound vaguely familiar (see older reviews of The Man Who Wasn't There) Perfection is not found in those albums, nor is it in The Man Who Wasn't There. Yet if one does not go looking for it, one will not be dissapointed, and instead, you are left with an insightful compilation that sets a Film Noir mood to the genre of Classical music. This is not something so readily done with a genre that cut its teeth on Jazz music (See "Romeo's Bleeding"). And the original music composed for the movie is excellent and narcotic. I yearned to listen to those tracks especially, again and again.
Don't compare the album to other music and albums, and you will find a subtle gem that needs only a little bit of polishing to shine through.
1 of 1 people found the following review helpful
Beethoven and Billy Joel? 12 Feb 2002
By Andy Alabama - Published on Amazon.com
Format: Audio CD
I haven't been able to hear the "audible noises" that the texan reviewer (Ms. Redundancy) seemed so distracted by. The score is great for all the obvious reasons.
I am curious as to whether anyone else unfortunate enough to be familiar with the Billy Joel song (circa 1985) "This Night" from the "Innocent Man" album has noticed that it is a direct and complete rip-off of the Pathetique piece repeated at tracks 1 and 12. Its ridiculous, but it's really plagueing me--I can't listen to it without noticing it.
Carter Burwell's usual genius, but technical flaws hinder CD 4 Feb 2002
By Gina Marie Warswick - Published on Amazon.com
Format: Audio CD
I have long been a fan of the Coen Brothers' films, and much of that has to do with the fact they are consistent when working with people. Carter Burwell has composed virtually all the soundtrack scores for their films, and his sound is "Coen" in description: oddly eerie, yet oddly intriguing.
This film is a noir, so the sound of all those classic black and white films is prevalent. Much classical work is intermixed, and done so very well. There is not much original work here from Burwell, but that's not my main contention here--the quality of the recording greatly lacks clarity.
Throughout the solo piano recordings (and there are several), audible noises are very very easily heard. Some noises sound like the fall of a pencil, while others sound like someone opened the door to the recording booth. It is a shame as the music is so beautifully done, but you can't help but be distracted by the noises. It is surprising to catch such obvious goofs as anything associated with the Coens is usually top-notch all the way.
If you can overlook the technical faults, fine, get this recording. You'd probably be better off getting Burwell's scores to Fargo and Barton Fink, sold together as one CD.
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