Mike Mills’s deeply personal film Beginners saunters throughout the kaleidoscopic first person narrative of Oliver (Ewan McGregor, The Ghost Writer), a solitary man shaken up by his dysfunctional yet beloved relationship with his father Hal (Christopher Plummer, The Last Station) and the woman who brings the relevance of romantic love back into his life, Anna (Melanie Laurent, Inglorious Basterds). Although the earnest yet risible screenplay usually prevents a filmic humdrum, the soundtrack to Beginners also contributes to this effort thanks to fresh music supervision by Robin Urbang and scoring by Brian Reitzell, Dave Palmer and Roger Neill. Their contributions highlight the solo piano as they take a less is more approach to the original motion picture soundtrack.

The soundtrack sets the narrative in motion with “Beginners Theme Suite,” an instrumental with a nurturing piano riff; the score paints the film with simplicity while coating Oliver’s mental landscape with the ironic perceptions that exist in his 1955 childhood and his present, 2003. A minute of a cheerful solo piano evolves into a slow, melancholy melody. An interesting aspect of this piece is the way in which it steers away from forced progression; the music notes rather lean into one another, branching into a different emotional realm while admiring the art of transition. Just as Oliver branches into an emotional acuity due to many forms of loss, an earnest trumpet solo sets into the piece. The instrumental, however, takes a slightly optimistic turn with high-pitched piano notes sprinkled throughout somber tones eventually ending with its beginning content melodies. Brian Reitzell, Dave Palmer and Roger Neill accomplish a difficult task in scoring Beginners; they spark intensity by means of simplicity and thereby imbue the flick with the genes that make it such a heartfelt motion picture.

Music supervisor Robin Urbang brings wit and gaiety to Beginners. The modern Indie flick reinvigorates classics, continuously reviving the past, which is a recurring theme in the film. The luminary ragtime pianist Jelly Roll Morton gives Beginners that bright spin of energy. Morton gives life to those special characters that left a mark on Oliver’s telling heart. In particular, “Mamanita” describes the quirky character of Oliver’s mother circa 1955, as she uses the Santa Barbara Museum of Art as a playground to make up for her lackluster marriage. “Bach Suite” is a sorrowful yet necessary track to reveal how father and son suffer in the face of a brutal illness. The thick layers of the resonant trumpet solo truly illustrate the pain that settles into each character through various dramatic developments. On a more cheerful note, the track “Everything’s Made for Love” by Gene Austin is a nice backdrop for the love narrative between Oliver and Anna, as the characters tip toe through the skeptic and romantic tendencies. Hoagy Carmichael’s “Stardust” is most iconic for Beginners, as it captured audiences early on in the film’s trailer and opened the movie with kindred spirits to musical expectations. Urbang inspires the compilation and thereby the film with throwbacks to a past filled with music that you can’t help but snap your fingers to.

The original motion picture soundtrack for Beginners certainly creates an ambience of curiosity, the feeling of discovery dusty treasures from an old attic. My only critique for the film lies in the lack of modern songs coated in the film’s quirky character to solidify the change in time throughout the movie. This loyalty to nostalgia marks the soundtrack as a time capsule brimming with love and loss. Thecompilation portrays nice music direction that incorporates just enough style and wit into Mike Mills’s comic drama.

- Megan Acheampong

Check out the trailer for Beginners here

Possibly the most disturbing figure in Hanna is Isaacs aka The Sandman (Tom Hollander, The Soloist), a sociopathic hit man with a love for whistling throughout his nefarious endeavors. The Chemical Brothers musically define this villain in two key tracks, “The Sandman” and ‘The Devil is in the Beats”. As Isaacs embarks on corrupting all the innocence that crosses his path, The Chemical Brothers use “The Sandman” as a green light for vice and corruption, for the tune lends itself to a whimsical lullaby. The skipping melody reverberates from lighthearted xylophone and triangle, creating a childlike tune. However as the piece progresses the familiar ostinato decelerates, foreshadowing ominous events.

The duo reveals their innovative technique in the evolution of the lullaby. The band utilizes all beats electronic to charge up the “The Sandman” and narrate Isaacs mission to make a nightmare a reality in “The Devil is in the Beats”.  The track begins with Erik’s response to his young assassin’s question, “What does music feel like?” After the definition response, “the combination of sounds with a view to beauty of form and expression of emotion” there is no turning back, as the tracks hits the ground running with some serious manipulation recording technology to start the action. What makes the track unique is that it never releases “The Sandman” from its foundation. It is a recurring leitmotif that serves as Isaac’s map towards corruption. Along with some synthesized vocals to emphasize the track’s steadfast syncopation the piece ends with what sounds like a vast influx of harsh wind, signifying a sudden abyss. The track’s open ending signifies Isaacs defeat or triumph in spoiling the meager hope left in the film – The Chemical Brothers let’s you decide.

“Hanna’s Theme” reveals the lighter side of the film, as Hanna (Saoirse Ronan, Atonement) experiences an adolescent freedom in contrast to a lifelong confinement to orders. The track delineates the young assassin in a seemingly organic fashion with a stream of high-pitched vocals, guiding the main melody to a wider musical terrain. As “Hanna’s Theme” matures electric guitar with an added distortion underlies other musical textures. The result is a surprising balance between the two contrasting atmospheres; a sense of liberation and obligation meld together in a non-invasive manner, perhaps revealing the sixteen year old girl’s dual identities.

Currently the most purchased track on The Chemical Brothers’ filmic project, “Container Park” is Hanna’s conflict tattoo, never too far behind a fight sequence. The track is a spot on summary for Hanna because of its focus on the many modes of action. The futuristic tones, relentless sounds of a wind tunnel, crescendos consisting of eastern scale electrophones, and an addictive riff on the electric guitar are just a few key characteristics of “Container Park.” What does this mean for the listener? For one thing, boredom is forbidden at the entrance to the piece. Despite minimalistic moments The Chemical Brothers never allow the track’s sense of urgency to subside, as anticipation can be the most unforgettable facet of a scene. In short – the subsections of “Container Park” become villains of their own, accompanying the characters on their various quests, virtuous and vicious alike.

The Chemical Brothers truly exemplify themselves as authentic musicians of the modern age in the original motion picture soundtrack for Hanna. Not only is there a strong union between narrative and music but a unique intricacy, as the film’s psychological battles are expressed through the score as well. In this sense, the dynamic fusion of character and score creates a casual intimacy between the audience and the movie.  In addition, the duo masters recurring motifs without belaboring them throughout the score.  The Chemical Brothers’ approach to Hanna blurs musical barriers in order to disorient listeners and make them want to do it again.

( 9.5 /10)

-    Megan Acheampong

Tracks: 08 the sandman 11 the devil is in the beats 01 Hanna’s theme

The Blue Valentine Original Motion Picture Soundtrack is a stunning variety of eclectic instrumentals and vocal pieces, which detail sounds of euphoric love and heartbreak with an added dose of nostalgia. Grizzly Bear serves as the mastermind of this filmic project, as they perform most songs on the soundtrack.

The Brooklyn based folk band’s pensive tunes serve as a time warp, drawing the viewer into the relationship of two lovers, Cindy (Michelle Williams, Shutter Island) and Dean (Ryan Gosling, Lars and the Real Girl) through the life span of their relationship. “Dory (Instrumental),” “Shift (Alternative Version)” and “I Live With You” detail the breakdown of the contemporary couple’s relationship.  Grizzly Bear utilizes stringed instruments’ piercing sounds to enhance this serious but very down to earth drama. “Dory (Instrumental)” splendidly narrates the descent into romantic turmoil; heavy drumming beats and a strung out vibrato on the banjo and guitar create downhearted melodies and serve as a great instrumental voice.

Vocal contributions also accentuate the recurring flashbacks in Blue Valentine, as the undertone of polyphonic melody creates a blurred sense of time. “Shift,” one of the few vocal pieces in Blue Valentine, places more emphasis on electric guitar, vocal harmonic contributions, and whimsical use of the triangle to connote a sense of transition towards a nearing devastation. In a lyrical sense, “Shift” is quite simple and lends itself mostly to repetition and crooning to magnify the song’s presence, which surprisingly doesn’t create a humdrum effect. Although the track’s tone is dismal, Grizzly Bear’s added whistling in “Shift” prevents it from becoming overbearing and also signifies couple’s dwindling but nevertheless remaining innocence. This metaphorical track’s intricate elements give a stellar portrayal of authentic complexity in a piece of music thereby making it a key song in the soundtrack.

The path towards severed ties comes to a head in “I Live With You.” The track acts as a vessel, for it catapults Blue Valentine into fiery clash of colorful emotions. Grizzly Bear utilizes raspy vocals and a fierce distortion on the electric guitar to create a crescendo of sound, evoking a sense of uncertainty and turmoil that exists between the couple in the film.

The Brooklyn based folk band’s pensive tunes serve as a time warp, drawing the viewer into the relationship of two lovers, Cindy (Michelle Williams, Shutter Island) and Dean (Ryan Gosling, Lars and the Real Girl) through the life span of their relationship. “Dory (Instrumental),” “Shift (Alternative Version)” and “I Live With You” detail the breakdown of the contemporary couple’s relationship.  Grizzly Bear utilizes stringed instruments’ piercing sounds to enhance this serious but very down to earth drama. “Dory (Instrumental)” splendidly narrates the descent into romantic turmoil; heavy drumming beats and a strung out vibrato on the banjo and guitar create downhearted melodies and serve as a great instrumental voice.

On a much more jovial note, a blissful luster envelopes Blue Valentine some key tracks. The seventies classic “You and Me” by Penny Quarters is a light hearted and iconic song which genuinely contributes to the earlier phases of the couple’s relationship. The song serves as a magnet, which draws the couple together in spite of the many upheavals in the film. “You Always Hurt The Ones You Love” by Ryan Gosling is another track that adds to the soundtrack’s variety and down to earth characteristics. Gosling’s bellowing voice amidst a playful, high-pitched banjo is an exceptional contrast. Furthermore, the simple yet poignant lyrics mark this track as a sweeping portrait for the film itself.

The Blue Valentine Original Motion Picture Soundtrack is an impressive compilation. The soundtrack’s lineup is courageous, never shying away from the many musical modes of expression while clinging to the film’s plot. Viewers will surely notice that whether Blue Valentine’s soundtrack is a whirlwind of musical dissonance or consonance, it sounds quite at home in this romantic drama.

(9.3/10)

- Megan Acheampong

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.

Desplat illustrates that the glimmer of magical hope is desperately dwindling but has not vanished through music. The composer thereby brings together the feelings of anguish, love, and terror without drowning one another out. The first piece of the score, “Obliviate,” holds the musical key to the apparent anguish that envelops the film. The track begins hushed, as if in hiding, but soon makes itself known through a gradually intense combination of

violins, clarinet, and trumpets. These instruments work very well with each other, quieting and intensifying to create a highly reflective piece of music. The piece’s rushed melodies reveal how strikingly pressing situations have become. There is a sense of urgency, which foreshadows the inevitability of life altering events for wizards and muggles alike. On the whole, “Obliviate” represents the sweeping changes that are occurring in the series. Desplat elevates the drama with tracks such as “Snape to Malfoy Manor,”  “Sky Battle” and “Captured and Tortured.” This musical selection is indeed under attack, as it reveals just how dark and shocking the series is going to get. The music clings to the seriousness and sheer terror of unfolding affairs and widens their scope to better experience them, giving a great glimpse into a fictional, yet realistic magical battle.

A Harry Potter score would not be complete without detailing the glue that holds the series together: the inesca

pable and immeasurable amount of loyalty that exists among characters. Pieces such as “Ron’s Speech” and “Farewell to Dobby” reveal the love that pervades the film, whether in the form of friendship or romance.  A musical softness dawns on the score, which will soothe the frights and hard edges of the fi

lm. The music captures the soul of true endearment and projects it onto the listener, marking these emotional pieces as truly enchanting. Alexandre Desplat elegantly composes the Original Motion Picture Score for Harry Potter and the Deathly Hallows; he creates a score that stands on its own while never losing touch with the series’ past masterpieces.  Through his evident musical flair, Desplat commences the end of the Harry Potter Series nicely, while simultaneously making viewers squeal in their seats for the final installment of the spellbinding series.

-  Megan Acheampong

For samples of the score, click here.

So it is no surprise that Kanye West is not the perfect model for humility.  And he could probably improve on his people skills.  Still, he definitely knows how to get the world’s attention.  Kanye West, hip-hop’s most controversial artist, created buzz yet again with the release of his 35 minute short-film “Runaway” on Saturday, October 23.  In his display of artistic versatility, West breaks down walls of stereotypes, steps outside the box and proves that he is more than just a rapper.  He is an artist, and regardless of whether his music tickles your fancy or if you are @KanyeHaters, Kanye West is the next breed of musician, bringing innovation, creativity, and balls to hip-hop.  Kanye West respects art, is open to growth, and continues to evolve as he constantly provides his audience with a stunning display of originality.

The film is fun to watch but better to be experienced.  In “Runaway,” Kanye West blurs the lines of hip-hop and fine art. In Scenic Sounds we highlight how music and film mesh, and “Runaway” is a beautiful example of how powerful music can be.  Few words are spoken throughout the entire 35 minute film.  West uses the tone and tempo of several of his recent songs (many which will be on his highly anticipated upcoming album) paired with the visuals to tell the story.  The music speaks volumes and guides the audience through the film.  There are moments of disconnect between the lyrics of the songs and the action on screen, but if you focus less on lyrics and more on the feel of the music there is perfect harmony.

I would be remiss in writing a review of “Runaway” without mentioning the storyline and screamingly obvious metaphors.  The film revolves around the relationship between Kanye and a Phoenix who has fallen to earth.  The Phoenix experiences the stigma of being different and the cruelty of the world toward things they don’t understand.  As I previously mentioned, dialogue is scarce throughout the film, but when used, it is used with great precision.  In the climactic scene before the Phoenix leaves earth to avoid being turned to stone by humanity, she says, “Do you know what I hate most about your world?  Anything that is different you try to change.  You try to tear it down.” Kanye’s metaphors speak to his incessant pursuit of his own personality and uniqueness despite the jeers from the rest of the world.  The short-film is about Kanye moving past the hate.  It is him putting bad criticism and judgment aside and rising above it.  It is about Kanye West getting back to making art.

Although many of Mr. West’s bold decisions have led to public outcry and several public apologies, his bold decision to carry through with this film is not one of them.  His innovative and artistic spirit shines through as he paves a path for the advancement of hip-hop.  Rather than sitting around in a warehouse making music videos with Ms. New Booty, Kanye West is producing art. Just as the Phoenix caught fire and rose above the judgmental world, Kanye is back from his penitent hacienda and has put hip-hop back on his back as he flies above criticism.  With many of the songs from the film to be included in his upcoming album, the film acts as a preview of the dark and twisted tunes that will make up “My Beautiful Dark Twisted Nightmare.”

Remember: Listen to the Movie!

–Kurt Skalamera, Skinny Jeans and Music Fiends Saturdays at 6pm

500 Days of Summer Dance Sequence from Chris Bale on Vimeo.

For the 95 minutes of watching “(500) Days of Summer,” I dropped my brute, insensitive, and uncivilized guise. I giggled gleefully, I nibbled on my fingernails in anticipation, I “aaaawww’d” at cute moments, and I even shed a tear. I loved it. And then, I did it again. And I am still a man.

For my favorite moment of musical genius, hit the jump.

Other than the film’s ability to pull me out of my machismo façade, “(500) Days of Summer,” the rom-com that captured the hearts of many indie film romantics during the summer of 2009, is packed with an array beautiful moments of harmony between the plot and the music in the background.  These moments of artistic genius, when the song playing perfectly captures the essence of the tone, mood, and setting of that particular scene in the movie, are what really made me fall in love with “(500) Days of Summer” and essentially made me want to write a feature like this that highlights these moments in an array of films.

The film, packed with so many awesome combinations of music and motion, did not make it easy on me to choose one scene as the paragon.  However, after watching the film again (and again), I knew I had to go with the scene portraying Tom (Joseph Gordon-Levitt) on the morning after his first night of passionate love with the girl of his dreams, Summer (Zooey Deschanel).  Tom proudly prances to work as Hall & Oates’ “You Make My Dreams Come True” provides him with a little extra pep in his step.  The movie, focused on failed expectations and the pains of dating, steps away from its focus on reality as the song transports Tom into his own fantasy world where everything goes his way.  Hall & Oates’ “You Make My Dreams Come True,” a staple in many film soundtracks, is woven seamlessly into the sentiment and situation of the character.  Not only does this point of the film mark a highpoint for Tom in his quasi-relationship with Summer, but it also serves as a highpoint in the film for me.  The artistic ingenuity and use of music in this scene (and the whole movie) create for a refreshing movie experience.

And remember: Listen to the movie!

–Kurt Skalamera

Based off Kazuo Ishiguro’s dystopian novel, Never Let Me Go is a whirlwind of love, truth, and tragedy– the common ingredients for a successful drama. It doesn’t take much difficulty to pay attention to a film directed by Mark Romanek (One Hour Photo) and starring Keira Knightley (Atonement), Carey Mulligan (An Education), and Andrew Garfield (The Social Network) as the fallible clones; one couldn’t say jackpot any better. Along with these popular talents is Rachel Portman’s skill, demonstrated in the form of a magnificent score; she captures the essence of Never Let Me Go superbly.

The score dissects the characters’ lives as they develop so that one obtains precious glimpses into their souls. The musical composition hits every emotion from the lighthearted excitement of a child to a man’s bitter defeat. Rachel Portman’s work connects the viewer with the film in ways good lighting and a solid line cannot; it reaches out and grabs the viewer, for all one can do is relate to the scenes in which a rush of harmonies flood the senses.

In particular three pieces from Never Let Me Go elegantly connect the viewer with what the clones must endure. Following the plot’s circular development, “Main Titles” serves as a harbinger of what will ultimately occur in the film. As Kathy H commences the heartfelt story the music is quiet and mature, portending of what is to come in the plot. The score continues in an unpredictable manner in “Bumper Crops.” This active piece captures the lust for freedom as the springing rhythms portray the innocence and curiosity the children have at Hailsham. It expresses the order that comes with beginning, the newness and excitement, which spring forth and gather the ebullient elements of the film. However, as “Bumper Crops” comes to an end Portman targets such lightheartedness and casts a wave of pensiveness with slowing rhythms and ultimately a near silence with only the reverberating harp guiding the melody.

As the score pushes forward, the rhythms loosen, the sounds deepen, and lighthearted tunes become a rarity. The piece that will shatter doubts in this musical composition with the sound of a single cello is “We All Complete,” for it captures the clones’ desperation in the most sorrowful manner. The slowed rhythms and deep tones allow time to reflect on every image presented in the film. Although not a holistically cheerful and uplifting score, it nevertheless succeeds in portraying the other side of life, the unheard stories which don’t end in a fairy tale like manner but in pure honesty. It is difficult to tell what exactly makes the score for Never Let Me Go so eccentric but to think it is a typical score to go along with another sappy and romantic film is an utter mistake.

–Megan Acheampong