Posts Tagged ‘Film Score’

DIAL M FOR MURDER – Dimitri Tiomkin

January 21, 2020 Leave a comment


Original Review by Craig Lysy

English playwright Frederick Knott introduced his story “Dial M For Murder” in 1952 as a play for television. Its popularity led to stage productions in London and New York that were also successful. Renowned producer Alexander Korda saw opportunity and purchased the film rights, and after the success of the stage productions sold them to Warner Brothers for a handsome profit. Warner Brothers Studios had Alfred Hitchcock under contract and when his effort to film “The Bramble Bush” failed to get off the ground they directed him to begin production on “Dial M For Murder”. Hitchcock would produce and direct the film with a modest budget of $1.4 million. His first choices for the lead roles did not pan out. Cary Grant would not accept the role of a villain, and Olivia de Havilland demanded too much money for his modest budget. Despite these setbacks he never the less secured a fine cast which included Ray Milland as Tony Wendice, Grace Kelly as Margot Mary Wendice, Robert Cummings as Mark Halliday, John Williams as Chief Inspector Hubbard, and Anthony Dawson as Alexander Swann. Read more…

1917 – Thomas Newman

January 11, 2020 3 comments

Original Review by Jonathan Broxton

1917 is an astonishing, emotionally overwhelming, technical masterpiece of a film set in northern France during World War I. Directed by Sam Mendes and based in part on the experiences of his own grandfather during the war, the film stars George Mackay and Dean-Charles Chapman as Schofield and Blake, two young English soldiers serving in the trenches on the front lines. When some vitally important military intelligence is conveyed to their commanding officer, Schofield and Blake are tasked with delivering a message to another unit half a dozen miles away, with orders that would stop a platoon of 1,600 soldiers – including Blake’s brother – from falling into a German trap and being massacred. In order to deliver the message the pair must journey on foot deep into enemy territory, overcoming obstacles and enduring incredible physical and mental hardships, in a manner which illustrates how devastating war is for everyone involved. Read more…

Under-the-Radar Round Up 2019, Part IV

January 6, 2020 1 comment

I am pleased to present the fourth installment in my ongoing series of articles looking at the best “under the radar” scores from around the world in 2019. Rather than grouping the scores on a geographical basis, this year I decided to simply present the scores in a random order, and so this fourth batch again includes reviews of seven more disparate scores all around the world – including two TV scores from Spain, a psychological thriller score from Italy, a horror movie from Morocco, a Chinese drama TV series, a comedy from Argentina, and an intimate love story from Vietnam! Read more…

LITTLE WOMEN – Alexandre Desplat

December 31, 2019 1 comment

Original Review by Jonathan Broxton

Greta Gerwig’s Little Women is the latest big screen adaptation of the classic 1868 American novel by Louisa May Alcott. The story follows the March sisters – headstrong and mercurial Jo, willful and artistic Amy, maternal and meek Meg, creative but sickly Beth – as they come of age in post-civil war Massachusetts. The narrative deals with numerous issues of the day, including the effects of ‘genteel poverty,’ the fallout of the war, sibling rivalries, the entrenched class system, and of course romance and love, the latter of which usually revolves around Laurie, the handsome grandson of the March’s wealthy neighbor. What’s interesting about this version of the story is that Gerwig, acknowledging the social mores of the 2000s, has given her adapted screenplay a healthy dose of modern feminism, which touches on contemporary issues involving women’s suffrage, equal pay for equal work, and bucking the period convention that a woman was not complete without a husband. The film stars Saoirse Ronan, Emma Watson, Florence Pugh, and Eliza Scanlan as the four sisters, Timothée Chalamet as Laurie, Laura Dern as their ever-loving Marmee, and Meryl Streep as the cantankerous Aunt March, and is a sumptuous visual feast that looks likely to be a major player at the 2019 Academy Awards. Read more…


December 26, 2019 1 comment


Original Review by Jonathan Broxton

In the late 1970s and 1980s a number of prominent American filmmakers took it upon themselves to take a long, hard look at the political and social ramifications of the country’s involvement in the Vietnam War. American involvement in the conflict began in the early 1960s, and lasted until the fall of Saigon in 1975, resulting in the deaths of more than 50,000 American military personnel, and hundreds of thousands more wounded. Chief among those filmmakers was Oliver Stone, who was himself a Vietnam vet. His 1986 film Platoon took a harrowing look at the war from the point of view of the men serving on the front lines, and he won Best Picture and Best Director Academy Awards for his trouble. Born on the Fourth of July, which was released in December 1989, took an equally harrowing look at what happened to those men when they finally came home. Read more…


December 23, 2019 7 comments

Original Review by Jonathan Broxton


When you’re a critic or reviewer, you often get accused of being biased, especially when you write a review that is contrary to the opinion of the accuser. And, of course, this is true. It’s impossible to remove bias from any opinion because your biases inform your feelings and your reactions to whatever it is you’re expressing an opinion about. Your bias comes from your life experience, your culture, your personality, and your taste: effectively, it’s the sum of who you are. For me, a piece of critical writing without bias is pointless because then you’re never actually sharing your point of view – in effect, you’re just describing something, and never describing how it makes you feel, and most importantly why. All art should make you feel something, good or bad, because otherwise what’s the point of art? Over time, a critic’s biases will become a clear and important part of what they write, and the reader, if they invest enough time into learning them, will be able to weigh those subjective biases against more objective standards, and tell whether or not the end result meshes with their own opinions, and their own biases. So, from the point of view of this review it’s important to point out that I am biased, heavily, to have a positive view of Star Wars. Read more…


December 19, 2019 Leave a comment


Original Review by Jonathan Broxton

Driving Miss Daisy is a story of the unlikely friendship that develops between Daisy Wertham, a retired white Jewish schoolteacher, and Hoke Colburn, an African American driver and handyman, set against the backdrop of racism and prejudice in the American South in the 1950s. When Miss Daisy (Jessica Tandy) crashes her car into her neighbor’s house, her son Boolie (Dan Aykroyd) hires Hoke (Morgan Freeman) to be her driver; despite initial misgivings from both parties, as time passes the unlikely pair grow to become friends and confidants, as both suffer slights and prejudices against them – Hoke for his skin color, and Daisy for her religion. The film was directed by Bruce Beresford, and written by Alfred Uhry, who adapted his own Pulitzer Prize-winning stage play for the big screen. It was a significant critical and commercial success too, winning Academy Awards for Best Picture, Best Adapted Screenplay, Best Makeup, and Best Actress for Tandy, who in doing so became the oldest winner in the history of the category at the age of 81. Read more…