Posts Tagged ‘Gabriel Yared’

THE PROMISE – Gabriel Yared

April 29, 2017 1 comment

Original Review by Jonathan Broxton

The Armenian genocide that took place between 1915 and 1917 was the systematic extermination of more than 1.5 million Armenians by the government of the Ottoman Empire in what is now Turkey. It’s one of the most overlooked examples of ethnic cleansing of the 20th century – and one which the current Turkish government still refuses to acknowledge – but it is now starting to become more widely recognized. Director Terry George’s film The Promise looks poised to be one of the first films to examine the historical importance of the period; it’s a sweeping epic set during the final years of the Ottoman Empire which focuses on the love triangle that develops between an Armenian medical student (Oscar Isaac), an acclaimed American journalist in Paris (Christian Bale), and an Armenian-born woman raised in France (Charlotte Le Bon), and which uses the backdrop of the genocide for social context. Read more…

Best Scores of 2015 – Asia

January 27, 2016 3 comments

The sixth and final installment in my series of articles looking at the best “under the radar” scores from around the world concentrates on music from films from Asia, although all of main ones this year are from the far eastern nation of Japan, with a couple of interlopers from Iran and the Lebanon. In this article, I’m taking a deeper look at several truly excellent works, which range in scope from anime movies and prestigious TV series to fantasy adventures, small-scale dramas, and religious epics. Read more…

AMELIA – Gabriel Yared

October 23, 2009 Leave a comment

Original Review by Jonathan Broxton

Amelia Earhart was one of the pioneers of modern aviation, a best-selling author, and a revolutionary feminist who enjoyed enormous celebrity during her life, and whose tragic death in 1937 remains shrouded in mystery. From her humble beginnings in rural Kansas in 1897, she rose to become one of the pre-eminent women of her generation; she became the first woman to fly solo across the Atlantic Ocean in 1932, was a member of the engineering faculty at Purdue University in Indiana, and was in the middle of an attempt to circumnavigate the globe when she disappeared over the Pacific Ocean. Director Mira Nair’s film of her life – Amelia – stars Hilary Swank as Earhart and Richard Gere as her agent and husband George Putnam, features Ewan McGregor, Christopher Eccleston in supporting roles, and boasts a rich, sweeping score by French/Lebanese composer Gabriel Yared. Read more…

1408 – Gabriel Yared

June 22, 2007 Leave a comment

Original Review by Jonathan Broxton

An effective little horror movie directed by Mikael Håfström and based on a short story by Stephen King, 1408 stars John Cusack as Mike Enslin, a man who specializes in debunking paranormal phenomena and supernatural occurrences. While researching a new book, and in attempt to disprove another myth, he checks into the fabled room 1408 in the Dolphin Hotel in New York, which has a grisly and famous history. Despite the misgivings of the hotel manager (Samuel L. Jackson), Mike settles in… and soon finds that not all fables are fake.

I can’t think of the last time Gabriel Yared scored a horror movie – or even if he’s ever done one – but the results on 1408 are pretty impressive. A string orchestra augmented by synths is the order of the day Read more…

L’AVION – Gabriel Yared

July 22, 2005 Leave a comment

lavionOriginal Review by Jonathan Broxton

Following the controversial (and, in my opinion, wholly inexcusable) rejection of Gabriel Yared’s score for Troy last year, and his subsequent public spat with Warner Brothers, many people wondered whether he would ever work in the Hollywood mainstream again. Although the idea of him being given a complete cold-shoulder by the major studio executives is unlikely, it’s not unsurprising to learn that his first post-Troy feature assignments are all predominantly European films: the German drama Das Leben Der Anderen, English director Anthony Minghella’s Breaking and Entering, and this film: the French drama L’Avion. Read more…


May 15, 2004 Leave a comment

troyyaredOriginal Review by Jonathan Broxton

Gabriel Yared began work on Wolfgang Petersen’s Troy during the first phases of production, in early 2003. He was certainly an unexpected choice to score a film of this type, having spent much of his Hollywood career scoring sentimental romantic dramas such as The English Patient, City of Angels, Message in a Bottle, Possession and Cold Mountain, and scoring them well. Nevertheless, Yared threw himself into the project, exploring ancient and modern musical techniques, integrating Bulgarian choirs and Macedonian soloists into his work, and much more besides. For over a year, Yared immersed himself in the music of Trojans and Spartans and Greeks, having been afforded the luxury of time, something not often given to film music composers these days. The score was recorded in February 2004, and everyone, from Wolfgang Petersen to the studio execs at Warner Brothers, loved Yared’s work. Then, the film was screened for a test audience in Sacramento, California, and everything changed. The focus group at the test decided Yared’s music was “overpowering and too big, old fashioned and dated the film” and, sensing potential trouble, Warner Brothers unceremoniously threw out Yared’s work. Overnight, a year’s worth of research and planning was discarded by a group of studio executives who believed that the Sacramento focus group had better taste in film music than a director of Petersen’s caliber, and a composer of Yared’s standing. Read more…

POSSESSION – Gabriel Yared

August 16, 2002 1 comment

possessionOriginal Review by Jonathan Broxton

Occasionally, I write a highly personal soundtrack review, and I make no apologies for this review of Possession being one of them. I saw this film for the first time in November 2002, with the woman who is shortly to become my wife. It was the first movie we ever saw together, on a cold winter night in London’s Leicester Square, and for some reason both film – and music – weaved a magical spell on us. The poetic language and vivid imagery, beautiful locations and inherent passion and romance of Neil La Bute’s movie was electric, and contained a great deal of personal resonance for the two of us. As a result, Possession has become an enduring favorite of ours, with the music easily ranking as one of the best “sleeper” scores of 2002. Read more…