Gabriel Yared's score
Does anyone know why this was never released on CD, or if there will ever be some sort of Yared compilation that will include it?
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MovieChat Forums > Vincent & Theo (1990) Discussion > Gabriel Yared's score
The end of the DVD shows that the sound track can be had on the Virgin label. I liked the music, but found it to be very distracting at times. Its not a reflection on the music itself, but rather the apropriateness of it in certain scenes. I belong to the school of thought that believes that the sound track should not be so obtrusive as to demand attention, but rather augment the rest of the background of the film. I had thought that the theatre had turned up the volume too far, but on a renewed viewing of the DVD, I see that the track is such that if you correct the volume for the music, you can't hear the dialogue.
share1 1/2 yrs later, I disagree with the above. 'Appropriateness' is subjective. I didn't have one problem with the composer's choices in terms of aptness to the visual and the dialogue. The almost unrelenting harshness and strangeness kept us mindful of the incredible conflict in the sibling relationship and the chaos in each of their lives. The music for the opening credits in particular, foreshadows the violent mental torment to come. I don't agree that the music should necessarily be all but unnoticed. In fact, I think that this is one of the comparatively rare cases when music is just as integral to the artistic success of the film as the acting and the dialouge, perhaps even the directing.
Yes, we have noble llamas.
Strange how the loud, noisy guitar notes played out in the opening credits of this film came from the same composer who later wrote the soothing music for Minghella's Cold Mountain (2003).
What I don't understand is how we're going to stay alive this winter.
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Greenwood's score for 'There Will Be Blood' is very similar to Yared's score for Altman's film in that regard, and just as effective.
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Allahu akbar!
I agree with the above. The sound track was unnecessarily harsh and loud, and did not complement the film or really add to its depth either. Nor did it mesh well with the music of the time period. It seemed to me that it was loud for the sake of being loud, and detracted from the artistry of the film. When the music began, I almost stopped watching the film entirely, but thought it best to give it a chance regardless.
I'm glad I'm not the only one. I'm not exaggerating when I say this was the most horrific musical score I've ever heard in any movie, and I've heard some stinkers. It made Neil Young's guitar squeaking on Dead Man sound like a lullaby. For me, the music in this movie went way beyond distracting; it upstaged the film with it's anachronistic cacophony, turning the whole production into a comedy. What's up with that funeral scene with a bunch of clanging and flatulent noises? Too funny
shareThis is an excellent movie and I enjoyed the music very much.
To the casual listener, the music is odd and all over the place, but that is exactly what makes it appropriate. The music is as eccentric and frenetic as the subject himself. The middle of the road Howard Shore/Alan Silvestri scores are too classy and logical for this picture.
If it was a bad film mix, I didn't notice in the theater 20 years ago because I wasn't aware of such things then, and when I just re-watched it, it was a VHS of a broadcast through a digital TV converter box. The print they'd used was dead meat. What blew me away about it in 1990 was the color, especially the sunflower scene, but what I just saw looked like a poorly stored print from 1968.
I agree with you completely mail-2775! The music was as you wrote "eccentric and frenetic as the subject himself. The beginning of the film and its music set me up for a film that defies description. I couldn't keep my eyes off Tim Roth or Paul Rhys. They both were incredible.
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