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Memoirs Of A Geisha: Good, Bad or Indifferent?


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Memoirs of a Geisha is a brilliant score and one of my personal favourites from the maestro as well.

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Geisha is probobly my favorite score by Williams, aside from E.T. To me its unbelievable that he didnt get the oscar for it, and Brokeback Mountain did. What is everyones thoughts?

Oscar for best score is a throwaway prize given to whichever movie is going to get best picture or otherwise needs some quality recognition other than best picture, regardless of musical qualifications. Since BBM didn't get the best picture, they gave it the score as a superficial nod.

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It is an excellent and thoughtfully beautiful score by Williams, a very succesful blending of Eastern musical stylistics into the Western orchestral idiom. Definitely one of the highlight among his noughties works. My further thoughts on the score can be found here: http://www.jwfan.com...showtopic=20088

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For some reason decided to pull out the dvd this morning. Really just a fantastic piece of cinematography, and the score really brings the whole thing to life

Geisha is probobly my favorite score by Williams, aside from E.T. To me its unbelievable that he didnt get the oscar for it, and Brokeback Mountain did. What is everyones thoughts?

Oscar for best score is a throwaway prize given to whichever movie is going to get best picture or otherwise needs some quality recognition other than best picture, regardless of musical qualifications. Since BBM didn't get the best picture, they gave it the score as a superficial nod.

agreed

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It is an excellent and thoughtfully beautiful score by Williams, a very succesful blending of Eastern musical stylistics into the Western orchestral idiom. Definitely one of the highlight among his noughties works. My further thoughts on the score can be found here: http://www.jwfan.com...showtopic=20088

Yes, but as successful as Christopher Gordon's Mao's Last Dancer? I think not!

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It is an excellent and thoughtfully beautiful score by Williams, a very succesful blending of Eastern musical stylistics into the Western orchestral idiom. Definitely one of the highlight among his noughties works. My further thoughts on the score can be found here: http://www.jwfan.com...showtopic=20088

Yes, but as successful as Christopher Gordon's Mao's Last Dancer? I think not!

For some reason Mao's Last Dancer didn't do much for me. It has been a while since I listened to it so I think it's time to give it another spin to see if I am of that mind still.
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It is an excellent and thoughtfully beautiful score by Williams, a very succesful blending of Eastern musical stylistics into the Western orchestral idiom. Definitely one of the highlight among his noughties works. My further thoughts on the score can be found here: http://www.jwfan.com...showtopic=20088

Yes, but as successful as Christopher Gordon's Mao's Last Dancer? I think not!

For some reason Mao's Last Dancer didn't do much for me. It has been a while since I listened to it so I think it's time to give it another spin to see if I am of that mind still.

Oh, you must. Although I'll allow that the score is somewhat top-heavy, unlike Williams's, which is remarkably consistent throughout.

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Mao's Last Dancer is a good score but pales in comparison to Memoirs of a Geisha. The latter is the far superior score.

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It's good, but far from his best work, in my opinion. As many know, I prefer the other score that got nominated.

Munich is a great score. A shame that people around here don't like it much.

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Koray, how many times have you seen Munich in total? Also, how much time has it been since the last time you saw it?

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It's a really good music to listen to, if somewhat restrained emotionally. But you really need to experience it with the film where you truly see why Williams is a master.

Try to ignore film itself, though. Horrible.

Karol

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I love Sayuri's theme itself, but much of the rest of the score leaves me a little cold. Which is interesting, because it does share certain stylistic similarities with Images, a score I happen to love.

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It's a really good music to listen to, if somewhat restrained emotionally. But you really need to experience it with the film where you truly see why Williams is a master.

Try to ignore film itself, though. Horrible.

Karol

The film has its flaws, but it looks so beautiful in all departments that it can be enjoyed as a visual, artpiece feast for the eyes.

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It looks good. My problem is it never really feels... honest. There's something too "TV melodrama" to make it really shine. Pity, because the book itself is much more than that. I am told.

Anyway, Williams' score is its strongest asset. Marshall clearly liked the score cause it's always in the spotlight.

Karol

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It looks good. My problem is it never really feels... honest. There's something too "TV melodrama" to make it really shine. Pity, because the book itself is much more than that. I am told.

Anyway, Williams' score is its strongest asset. Marshall clearly liked the score cause it's always in the spotlight.

Karol

I never read the book, but I agree it went a bit overboard with the melodrama. Still, I managed to focus exclusively on all the audiovisual aspects -- one great setpiece after the other. Original storytelling isn't everything to me.

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I like Sayuri's theme, but I have a hard time appreciating arabic/oriental music in general - don't know why. The bulk of the score does little for me.

Never seen the film - the subject matter didn't appeal to me in the slightest from day one.

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I love Arabic/oriental or other ethnic overtones, it's why this score really appeals to me.

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The movie is underrated. Was it Oscar material outside of technical categories? Maybe not. Is it a soulless Hollywood interpretation of eastern culture? Probably. But it's damn watchable.

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It is watchable and its quite beautiful visually. But the sense of falseness is there.

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i did the whole thing backwards. i heard the score, read the book and then watched the movie. i watched the movie just after i finished the book, and didnt like it. i watched it this morning however, and loved it. my memory must be hazey with the book, but the book had much more detail in it, and had alot more historical value in it

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I read the book a long time ago (before the film was conceived), then later I heard the score, then I watched the film. Loved the book and the score, didn't like the film so much although it is a thing of beauty (on a visual level).

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It's a fantastic score, one of JW's very best, and yet . . . I am quite indifferent to the movie. I don't think it's a bad movie, no, but then, neither would I call it a good, let alone great movie. I saw it twice (once in the theater, once on DVD, and that's enough).

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In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

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In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

I would not include Going to School in that list as it is so heavily temp track influenced.Later Williams did wonders with the material in his Suite for Cello and Orchestra where Last Emperor stylings were much less blantant and development of his own ideas more extensive. As the Water... or Confluence would be my choices.
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In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

Because the Oscar stands for artistic quality?

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In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

Because the Oscar stands for artistic quality?

"Should have" implies what is generally not the case, but what is desirable in an ideal world.

As the Water... or Confluence would be my choices.

Yes, those are fantastic too.

And also I love the very first track, the one in which the cello playing triplets mimicks the falling rain... all I can say is, wow. So simple, but effective.

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In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

I would not include Going to School in that list as it is so heavily temp track influenced.Later Williams did wonders with the material in his Suite for Cello and Orchestra where Last Emperor stylings were much less blantant and development of his own ideas more extensive. As the Water... or Confluence would be my choices.

definatly confluence!

has everyone heard the duet piano and cello album he and yo yo ma did? pretty good stuff. too bad its only three tracks...

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Confluence was by far my most favourite but I thought it was a missed opportunity.

Missed opportunity for what?

JW wrote it, it can be heard quite loudly in the movie, we got the track on the OS album. Could we wish for more? :)

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Confluence was by far my most favourite but I thought it was a missed opportunity.

Missed opportunity for what?

JW wrote it, it can be heard quite loudly in the movie, we got the track on the OS album. Could we wish for more? :)

I think he meant the score in general, not just that one track Josh.

In fact, this score should have received an Oscar just for the 3 set pieces alone: "Going to School," "The Chairman's Waltz," and "Becoming a Geisha."

I would not include Going to School in that list as it is so heavily temp track influenced.Later Williams did wonders with the material in his Suite for Cello and Orchestra where Last Emperor stylings were much less blantant and development of his own ideas more extensive. As the Water... or Confluence would be my choices.

definatly confluence!

has everyone heard the duet piano and cello album he and yo yo ma did? pretty good stuff. too bad its only three tracks...

Yes the three pieces are lovely indeed. And have you heard the Suite from Memoirs of a Geisha for Cello and Orchestra? It is definitely one of the best reworkings of his score material into an independent suite.
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