Archive
Under-the-Radar Round Up 2022 – English Language Indies III
My recurring under-the-radar series usually concentrates on the best scores for non-English language films in a given year, but doing so means that I sometimes overlook music written for British, Australian, and American films that are similarly low-profile, but also have outstanding scores. To rectify that, here is the final entry for this year in my ongoing series of review articles, this time looking at seven such scores from the second half of 2022, written for independent English-language features that you might have otherwise overlooked.
The scores are: a heartwarming family drama about the homelessness crisis, an Australian film about a the unlikely friendship between a girl and a fish, a British comedy set in the world of French high fashion, another British comedy set in the world of professional golf, scores for two experimental films by a talented newcomer, a seasonal fantasy-drama about a magical reindeer, and a hilarious mock-biopic of Weird Al Yankovic! Read more…
EMMA – Isobel Waller-Bridge and David Schweitzer
Original Review by Jonathan Broxton
What a year it has been for the Waller-Bridge sisters. Phoebe Waller-Bridge, the actress and writer, won Emmys and Golden Globes and BAFTAs galore for her work on the second season of the brilliant BBC comedy series Fleabag, and also for her work as the creator of the drama series Killing Eve, before being hired to polish the screenplay for the upcoming James Bond film No Time to Die. Now Phoebe’s composer sister, Isobel Waller-Bridge, has followed up her own success writing the ironic choral music for Fleabag with this wonderful period score for a new literary adaptation of Jane Austen’s Emma. Waller-Bridge has teamed up with another English composer, David Schweitzer, a child prodigy who has a massive amount of experience writing for documentaries and animated TV series, and contributing additional music on shows like The White Princess, Vanity Fair, Victoria, and The Crown. With the possible exception of Fleabag, this is the most high profile above-the-title score of both composers’ careers, and if the music here is anything to go by, we will be hearing lots from them in the future. Read more…
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