That was mainly a joke, hon, because as I was watching the film I kept thinking oh my God, this could not be more French. And then it would get even more French. Hehe
I've seen the film described in more than one place as being both French and Italian (e.g., Wikipedia says the country of origin for the film is "France/Italy"). But I don't know what they mean by that.
I know much more about European music than cinema, and I kept thinking how the music seemed Italian (French and Italian music are similar, but compare this score with the score to Amelie).
The songwriter at the piano was Michel Legrand, the composer of the film's god-awful score. He's Parisian, studied at the Conservatoire from age 11 to 20 (graduating with top honors in composition and piano), and has composed over 200 film and TV scores.
He's been nominated for 13 Oscars (and won 3 times) and has won five Grammys. He's clearly a fabulous piano player and has only appeared in three films.
Was there an aesthetic to the score that I missed, or was it bad?
The only music I noticed were instrumental variations on her pop songs, which were in and of themselves bad. That worked for the story, though -- she wasn't supposed to be a great singer, just an early version of today's pop tarts.
I'm glad you mentioned that. I'd forgotten to compare that with the same effect in "Dolls."
The only time I really noticed the score was a moment when Cleo was walking in the park (before she met up with the soldier), and the music was building to high suspense, as though something terribly exciting or scary was about to happen -- and then nothing happened. She kept walking. And the music kind of trailed away. I wonder what the purpose of that was.
6 comments:
I am unschooled in Italian cinema, mi signorina.
But did you like the film?
That was mainly a joke, hon, because as I was watching the film I kept thinking oh my God, this could not be more French. And then it would get even more French. Hehe
Oui, I liked the film, cherie.
I really loved it. I think I'm going to watch it again, which would total three viewings now.
I've seen the film described in more than one place as being both French and Italian (e.g., Wikipedia says the country of origin for the film is "France/Italy"). But I don't know what they mean by that.
I know much more about European music than cinema, and I kept thinking how the music seemed Italian (French and Italian music are similar, but compare this score with the score to Amelie).
The songwriter at the piano was Michel Legrand, the composer of the film's god-awful score. He's Parisian, studied at the Conservatoire from age 11 to 20 (graduating with top honors in composition and piano), and has composed over 200 film and TV scores.
He's been nominated for 13 Oscars (and won 3 times) and has won five Grammys. He's clearly a fabulous piano player and has only appeared in three films.
Was there an aesthetic to the score that I missed, or was it bad?
The only music I noticed were instrumental variations on her pop songs, which were in and of themselves bad. That worked for the story, though -- she wasn't supposed to be a great singer, just an early version of today's pop tarts.
I'm glad you mentioned that. I'd forgotten to compare that with the same effect in "Dolls."
It was extremely French.
The only time I really noticed the score was a moment when Cleo was walking in the park (before she met up with the soldier), and the music was building to high suspense, as though something terribly exciting or scary was about to happen -- and then nothing happened. She kept walking. And the music kind of trailed away. I wonder what the purpose of that was.
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