on 2 May 2013
It is very rare that a film and it's soundtrack shine in today's film world but i think the master film/music make a powerful duo. There is some beautiful songs that i think will appeal to anyone watching the film Ella Fitzerald's GET THEE BEHIND ME SATAN is a perfect example the way this song is used near the start of the film and the for story what lies ahead for our main man freddie quell this song is a perfect fit. Also Jo stafford's NO OTHER LOVE is another gem, the music johnny greenwood provides is stunning no other way to describe it i can see why Paul T Anderson worked with him again, the music is haunting spine tinging and rare and is fitted in so well.I have watched the film twice now there is plenty of things going though my head the amzing story, acting and the music. My only dissapointment was at the end of film Actor Philip Seymour Hoffman sings a couple of lines of a song called (I want to take on a slow boat to china) to joaquin phoenix's freddie character which is a very sad and moving moment it is not included on this soundtrack but another character sings a song in the film that is included on this soundtrack called Dont sit under the apple tree. Forgetting that blip it's a wonderful soundtrack to a 5/5 film i do hope PTA and johnny greenwood work together in the future keep making sweet music for us movie fans.
on 15 September 2012
Propelled by the success of There Will Be Blood, director Paul Thomas Anderson has again collaborated with Radiohead guitarist and composer Jonny Greenwood producing another fantastically tense, dissonant and a times beautifully melodious and crafted tribute to the French composer, organist and ornithologist: Olivier Messiaen. Whilst Messiaen's influence plays a crucial part in the generation of the sonic soundscapes on this album of fifteen recordings, it is the presence of Polish composer Krzysztof Penderecki and French composer Claude Debussy that provide perhaps the more affecting and stirring moments in Greenwood's eleven original compositions. The inclusion of three 1950s era classics and an excerpt from the film itself allow for both a temporary respite and chance to reflect on the underlying emotions found within the score, juxtaposing absolutely brilliantly. Undoubtedly, although I have yet to see what critics and public alike are already declaring a modern masterpiece, this score will stand strongly as a companion piece and, contextualised, as a fantastic addition to Paul Thomas Anderson's sixth feature film.
Notable moments: Alethia, Able-bodied Seamen and Application 45 Version 1.