Alexandre Desplat is a composer who I haven’t been familiar with for long, but it’s no secret that I really enjoy his film scores especially those of the past couple of years (see my reviews of his scores to The King’s Speech and Rise of the Guardians). His score for last year’s Ben Affleck film, Argo, is no exception…it’s nominated for the Academy Award for Best Original Score.
Desplat’s music has always been characterized by a beauty unparalleled by his contemporaries. This beauty is apparent from the very first track, “Argo,” which opens with a lovely solo on the ney (a flute-like instrument known for its use in Middle Eastern music), backed by soft, harmonious strings and an ominous drone on the tonic, leading to a faster-paced melody on an oud (a guitar-like instrument that also features in Middle Eastern music), with a sort of anxious undertone. This background anxiety is present throughout most of the score, which is fitting due to the fact that anxiety is a large part of the action in the film. Anxiety is not the only emotion expressed in this score, though; we also hear longing (such as in the track “Missing Home”), despair (“Sweatshop”), and relief (“Cleared Iranian Airspace”)…Desplat’s talent for emulating emotion through his music is evident.
One of my favorite parts of this score is that Desplat composes differently depending on the setting of the action on screen. For example, throughout most of the soundtrack we are treated to a style of music that brings to mind the Middle Eastern culture, which makes sense because most of the story takes place in Iran…this is why such instruments as the previously mentioned ney and oud are used so prominently. However, in “The Mission,” we hear a completely different style more reminiscent of traditional American film scores, with a sweeping string orchestra and quite typical harmonies. This theme is later heard in the track “Cleared Iranian Airspace,” but the genius of it all is that neither of these tracks are completely “American”…”The Mission” ends with the return of the ney, hinting at the journey that the main character will soon be taking, and “Cleared Iranian Airspace” starts with dissonance, representing the tension of the situation, eventually clearing out into the American-style theme mentioned before.
Parts of Argo sound similar to some of Desplat’s previous compositions, though not in a way that is frustrating (I’m looking at you two, Zimmer and Elfman!). The main instance of similarity (that I heard) is in the track “Held Up by Guards,” which sounds faintly like a theme from Harry Potter and the Deathly Hallows – Part 2, heard here in “Showdown.” Like I said, they don’t sound exactly alike, but definitely noticeable (to me, at least). Also worth noting is the fact that both the scores to Argo and Life of Pi (composed by Mychael Danna), which is also nominated for the Academy Award for Best Original Score, feature beatboxing (Argo – “Hotel Messages”; Life of Pi – “Piscine Molitor Patel”), which isn’t typical of usual film scores. However, it works well in both cases.
Alexandre Desplat is one of the best composers of our day, a fact supported by his fantastic score for an equally fantastic film, Argo…it certainly deserves its nomination for Best Original Score at this year’s Academy Awards. Will it win? I’m not sure, but with his top-notch emulations of emotion and beauty and his appropriate usage of Middle Eastern music to reflect the setting of the film, Desplat’s score for Argo is one of the best of 2012.
Rating: 4.5 (out of 5)
1. “Argo” 3:38
2. “A Spy In Tehran” 4:18
3. “Scent of Death” 3:26
4. “The Mission” 2:08
5. “Hotel Messages” 2:04
6. “Held Up By Guards” 5:32
7. “The Business Card” 2:56
8. “Breaking Through the Gates” 3:51
9. “Tony Grills the Six” 3:30
10. “The Six Are Missing” 3:22
11. “Sweatshop” 1:32
12. “Drive to the Airport” 3:45
13. “Missing Home” 3:00
14. “Istanbul (The Blue Mosque)” 2:18
15. “Bazaar” 3:46
16. “Cleared Iranian Airspace” 6:02
17. “Hace Tuto Guagua” (performed by Familion) 3:40
Total Length: app. 59 min.
P.S. Read my review of this film here!
January 30th, 2013 at 7:02 pm
[…] P.S. – Read my review of this film’s score, composed by Alexandre Desplat, here! […]
February 1st, 2013 at 2:33 pm
I agree that Desplat is one of the greatest composers of our time. I love his score for Zero Dark Thirty – I’ve been listening to it all week! Great post!
February 1st, 2013 at 2:58 pm
I haven’t listened to that one just yet…been spending time listening to all of the Best Original Score nominees. I’ll definitely have to look into it!
February 21st, 2013 at 3:22 pm
[…] middle names are derived from the name of a well-known public pool in France). As I mentioned in my review for Alexandre Desplat’s score for Argo, there is also a beatboxing segment in this track, a trait shared by both scores…unusual, but […]