Film

The lack of attention on this blog to Lana Del Rey‘s music is not an oversight as much as it is an overwhelming inability to put into words what stirs so strongly everything that I love, have loved, and will always love about art.[1] But with yesterday’s release of her latest video, “Born to Die,”one of the smartest and most emotive works I have witnessed this year, her value as an art-ist, that rare operator able to move between mediums and messages to edge closer and closer to the god-honest truth – and to the edge itself – becomes crystal clear.

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The highly anticipated first installment of Harry Potter and the Deathly Hallows has arrived and, along with it, a powerful musical score. Alexandre Desplat picks up where Nicholas Hooper left off in Half Blood Prince and takes the musical reigns in this heated series. At first, the score for Deathly Hallows could possibly be perceived as unfinished; the magic that Harry Potter scores usually evoke might not initially consume you the way it always has, for it does not possess the comprehensive range of emotions each Potter film has. However, because the story is unfinished and jaw dropping events have yet to unfold, it makes sense that the score is somewhat underdeveloped as well–a score’s duty is to complement and enhance a film’s existing features.

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In this weeks installment of Scenic Sounds, the bi-weekly column at the crossroads of music and film, Megan Acheampong studies the Score from the film Never Let Me Go in a way you never thought was possible.

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