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![Meet Joe Black: Original Soundtrack [SOUNDTRACK]](http://ecx.images-amazon.com/images/I/31p94q1DOlL._SL500_SS90_.jpg)
~ Thomas Newman
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~ James Newton Howard
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~ Thomas Newman
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~ Thomas Newman
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~ Various Artists - Soundtracks - 1999
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Product details
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Track Listings
| 1. Good German/Unrecht Oder Recht (Main Title) | |||
| 2. Good German/River Havel | |||
| 3. Good German/Countess Roundheels | |||
| 4. Good German/Such a Boy | |||
| 5. Good German/Kraut Brain Trust | |||
| 6. Good German/The Russian Deals | |||
| 7. Good German/A Good Dose | |||
| 8. Good German/Muller's Billet | |||
| 9. Good German/Wittenbergplatz | |||
| 10. Good German/Trip Ticket | |||
| 11. Good German/Safe House | |||
| 12. Good German/A Nazi and a Jew | |||
| 13. Good German/Dora | |||
| 14. Good German/Kurfurstendamm | |||
| 15. Good German/The Big Three | |||
| 16. Good German/A Persilschein | |||
| 17. Good German/Stickball | |||
| 18. Good German/Golem | |||
| 19. Good German/Atom Bomb | |||
| 20. Good German/The Good German | |||
See all 29 tracks on this disc
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Product Description
Amazon.co.uk Review
Just as director Steven Soderbergh paid tribute to the atmospheric black and white thrillers of the postwar period with this movie, composer Thomas Newman came up with a score that strives to evoke the majesty of works by the likes of Miklós Rózsa, Max Steiner and, of course, his own father, Alfred Newman. For once the enormous ensemble credited as the Hollywood Studio Symphony does not feel wasted: most of the brooding ambiance is created by thick, dark clouds of strings, and tension often rises from the strings' juxtaposition with brass. Newman also makes good use of oft-neglected instrumental voices: Check out the harp on "Muller's Billet," "Trip Ticket" and "Golem," for instance; it really makes you wonder why that instrument isn't used more. In terms of mood-setting, the music is perfect: listening to cues such as "Kurfustendamm" will instantly transport you back to a rainy street in 1945--or rather, a Hollywood backlot made to look like a rainy street in 1945. Sure, this is a deliberately retro soundtrack, but it's done with elegance and deep understanding of a certain classic scoring style. --Elisabeth Vincentelli
The Irish Times, March 22, 2007
Thomas Newman's superb Oscar-nominated score for this brooding second World War drama (and sly Michael Curtiz homage) is his least typical score. Inspired by the master composers of Hollywood's Golden Age (Max Steiner, Franz Waxman and his own father, Alfred Newman), Newman boldly combines strong themes (the darkening fanfare of Unrecht Oder Rechts and the love theme of The Good German) with dynamic suspense motifs and brusque martial rhythms (on Dora and Countess Roundheels) to create an old-fashioned-sounding but very contemporary score. With an emphasis on menacing strings, delicate harp and staccato brass in minor keys, The Good German evokes the paranoid atmosphere of postwar Berlin while retaining the emotional urgency, intellectual sophistication and effortless technique that are vintage Newman. Jocelyn Clarke
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