Big fish trailer ita The film

Big fish trailer ita

The film stars Natalie Portman as Anne, Scarlett Johansson as Mary, Eric Bana as Henry, and David Morrissey, Mark Rylance, Kristin Scott-Thomas and Benedict Cumberbatch in supporting roles. For the music, Chadwick turned initially turned to Edward Shearmur, but for whatever reason his work was eventually removed, and he was replace by up-and-coming California-born composer Paul Cantelon. Cantelon is a new name in the film music world; he was a violin prodigy who made his performance debut at the age of 13, and later studied at the Geneva Conservatory of Music, the Juilliard School of Music in New York City, the Conservatoire de Paris. Prior to his film music debut, Cantelon released a number of solo classical piano recordings, founded the alternative band Wild Colonials, and performed with a diverse range of artists from Yo-Yo Ma to Joe Cocker and the Red Hot Chili Peppers. He made big fish trailer ita mainstream film music debut in 2005 with the film Everything is Illuminated, and received praise for his score for the critically acclaimed 2007 drama The Diving Bell and the Butterfly, but The Other Boleyn Girl is by far the most impressive work of his yet brief career. As one might expect for this kind of romantic costume drama, Cantelons score is classical in tone and style, making use of a traditional chamber-sized ensemble, and concentrating solely on good, old fashioned orchestral writing. He does try to inject of a little bit of Renaissance flavor into the score by occasionally introducing harps, lutes, a tinkling cimbalom, and other such instruments from the Tudor era, but on the whole Cantelons music is entrenched in a modern, western classical style, which is pleasing indeed. The themes are lush and florid, are dramatic without being melodramatic, and have an innate Englishness to them, which is difficult to describe, but immediately apparent upon listening to the music. There is a hint of both Ralph Vaughan Williams pastoral style and Georges Delerues elegant romance in the lovely Opening Titles, which features a beautifully tender oboe theme which eventually gives way to a swooning piano melody. Mary and Henry is gorgeous piece for strings, soft woodwinds and shimmering harps that speaks of refined romance; Anne Returns allows a solo guitar and solo piano to play off each other with great dexterity; and Anne Charms Henry, quite cleverly, features some faint exotic textures, and a dexterous oboe performance that has the beckoning guile of an Indian snake charmer. The lamenting tone of Mary Leaves Court is bittersweet; attractive, but pitifully sad at the same time. But this is not to say that The Other Boleyn Girl is all about ornate romance; cues such as Going to Court are more energetic and forceful, with an increased percussion presence, and Annes Coronation is an exultant choral piece of which Handel would be proud, while elsewhere Annes Secret Marriage, Anne is Exiled and Mary Lies for Anne provide the first touches of the shades of darkness that eventually come to characterize the latter parts of the score. Queen Katherines Trial is a stunningly realized piece filled with a sense of dignified resignation and intense sorrow; this continues on into the equally striking Banished. Anne Conspires is a threatening piece underpinned by the unsettling rumble of tremolo strings, while the finale of the score Anne and George, Guilty, The Execution and Finale is a quartet of intensely beautiful, but overwhelmingly sad string-based cues that layer thickly the feelings of velvet-clad heartbreak. Its not subtle, but it packs an undeniable emotional punch. This is all wonderful work by Cantelon, and one which is deserving of high praise, but I can see how this might not appeal to the masses. I have often read comments by people who find this kind of scoring to be boring, probably due to its lack of action music and blaring brasses. I personally find the restraint, elegance and classicism of Cantelons work to be musically refreshing, and intellectually stimulating. It helps, of course, that the thematic writing is strong, and that the orchestrations are clear and precise. This is a score which will appeal to admirers of composers like Georges Delerue, John Barry, Patrick Doyle and George Fenton; as such, I loved it, and I will be watching Paul Cantelons career path with interest. 0 out of 5 stars Copies the Carter Burwell temp track, May 4, 2009 The score plays well in the film, but I felt that it was obviously temp-tracked with Carter Burwells scores from Gods and Monsters, Hamlet, and possibly even Being John Malkovich. The main waltz theme from Gods and Monsters is particularly influential on this score, whcih as it was pointed out, does not use any instruments from the period. If the score were especially good, that wouldnt mater, and if the score were especially good, the use of period instruments might get it higher praise than it deserves. I would like to hear more from Paul Cantelon and see if he develops a personal style that is as recognizable as Burwells. If big fish trailer ita love a good soundtrack or classical music this is a great buy for you. A pleasure to listen to without the soundtrack pieces that are too dramatic like a fight scene. Very nice soundtrack that I listen to at work without having to feel like I have to turn it down. I love this music!!!! I listen to it constantly and never tire of hearing it! Would highly recommend this CD. Published on April 10, 2009 by K. Hendricks 0 out of 5 stars Quite good, mellow, romantic soundtrack I own several hundred soundtrack albums all the usual suspects Zimmer, Elfman, Horner, etc. I was unfamiliar with Mr. Read more Published on January 31, 2009 by Virginia music lover This might get the prize for the Most Generic Soundtrack of the Decade. It could be the score for just about any movie, but not very interesting for any. Read more Published on June 13, 2008 by wdhspg Whats this? Click on a tag to find related items, discussions, and people. 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