Mychael Danna sort of came out of nowhere for me. The first of his film scores that I’d ever heard of was his score for the 2011 film Moneyball, a score that was minimal but effective. A brief look at his Wikipedia filmography reveals other such scores as (500) Days of Summer, Capote, and Little Miss Sunshine, none of which are films that I’ve seen, let alone heard music from. Despite my unfamiliarity with Danna’s work, though, his score for Life of Pi is enjoyable and fits in nicely with the film.
The soundtrack opens with the track “Pi’s Lullaby,” which is nominated for the Academy Award for Best Original Song. Though I don’t think it’ll win, its soothing vocals and relaxed accompaniment are nice to listen to. Bits of this track are heard throughout the score in different forms, building onto the character of Pi Patel with each occurrence. The sitar, a guitar-like instrument traditional in Indian music, is featured prominently in many tracks, emphasizing the heritage of our main character, but the Indian-inspired music fades with Pi’s family’s move to Winnipeg, Canada. In fact, in the track “Leaving India,” there is a moment when we hear bits of “Pi’s Lullaby” played by (what I think to be) the ney, a wind instrument that is often heard in Middle Eastern music, but this is taken over by a similar Western instrument, the flute.
Danna does an excellent job with incorporating vocals into the score to evoke emotion. For example, in the track “First Night, First Day,” we hear a low male vocal drone with a solo soprano line sung over it. Eventually, other female chorus members join in, giving the whole track an air of both remorse and mystery, alluding to Pi’s recent tragedy with the loss of his family and to his unknown future while stranded alone at sea. Another instance of good choral work is toward the end of “Back to the World,” in which we can sense Pi’s mixed senses of relief in returning to civilization and disappointment in the loss of Richard Parker.
Not all of this score is so depressing, though. “Piscine Molitor Patel,” which serves as the backdrop to Pi’s explanation of his name, features some schmaltzy accordions that fit in the with the bits of the story involving Paris and French (his first and 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 it doesn’t seem inappropriate for either film. Another “fun” track is “Flying Fish,” which comprises of a string melody that starts off light and bouncy and grows a little weightier as the track comes to a close.
While I do enjoy all of the music presented here, the reason that I don’t place it as high as Desplat’s score for Argo or Williams’ score for Lincoln (my review here) is because much of it is so repetitive. The same themes are presented over and over again from track to track, and, though this could be interpreted as a conscious decision on Danna’s part to emulate Pi’s increasingly mundane day-to-day routine in his music, I think that it is unnecessary. There are complex emotions and ideas presented in the film, and I think that the score could have done a better job of highlighting all of these.
That’s not to say that it’s not still a pretty great score, though. Danna has composed a score that generally fits the film well, and it’s certainly pleasant to listen to. The score for Life of Pi walked away with the Golden Globe, but I don’t think that it’ll get the Academy Award for Best Original Score. Who knows, though? I’ve been wrong before. It’s entirely possible that my view is skewed since I’m partial to Williams’ scores.
Rating: 4 (out of 5)
1. “Pi’s Lullaby” 3:42
2. “Piscine Molitor Patel” 3:39
3. “Pondicherry” 1:12
4. “Meeting Krishna” 1:51
5. “Christ in the Mountains” 1:13
6. “Thank You Vishna for Introducing Me to Christ” 0:55
7. “Richard Parker” 0:54
8. “Appa’s Lesson” 1:06
9. “Anandi” 0:55
10. “Leaving India” 1:20
11. “The Deepest Spot on Earth” 0:48
12. “Tsimtsum” 2:49
13. “Death of the Zebra” 0:33
14. “First Night, First Day” 3:45
15. “Set Your House in Order” 2:10
16. “Skinny Vegetarian Boy” 2:16
17. “Pi and Richard Parker” 2:14
18. “The Whale” 2:02
19. “Flying Fish” 0:49
20. “Tiger Training” 1:22
21. “Orphans” 1:36
22. “Tiger Vision” 4:31
23. “God Storm” 3:42
24. “I’m Ready Now” 3:21
25. “The Island” 1:59
26. “Back to the World” 8:20
27. “The Second Story” 4:02
28. “Which Story Do You Prefer?” 2:05
Total Length: app. 66 min.
iTunes Album Link
1 Comment | tags: 500 days of summer, Academy Awards, Alexandre Desplat, argo, best original score, best original song, capote, golden globes, John Williams, life of pi, Lincoln, little miss sunshine, mychael danna, ney, pi patel, pi's lullaby, piscine molitor patel, richard parker, yann martel | posted in 4, Books, Entertainment, Film, Movies, Music, Scores, Soundtrack Reviews
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.
iTunes Album Link
P.S. Read my review of this film here!
4 Comments | tags: Academy Award, Alexandre Desplat, argo, beatboxing, ben affleck, best original score, cleared iranian airspace, dhpt2, familion, Harry Potter, Harry Potter and the Deathly Hallows, harry potter and the deathly hallows - part 2, life of pi, middle eastern, mychael danna, ney, oud, pi patel, piscine molitor patel, rise of the guardians, The King's Speech | posted in 4.5, Entertainment, Film, Movies, Music, Scores, Soundtrack Reviews