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Posts posted by KK
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POSSIBLE SPOILERS BELOW:
I watched the film last night too and Jason's changes largely make sense. I would still however keep the Bonding Theme labeled as it is because it could still stand for how Joey bonds with the different characters. Also, its come to my attention that at certain times, the themes do get tossed around a bit. For instance, around the plowing scene, there is a statement of the War Theme on the woodwinds and I'm not sure why as there really is no mention of war at that scene (maybe foreshadowing?).
I still think that Joey's Theme is what Incanus calls the Playful Horse theme. I've pointed this out in my own analysis of the score, but Emilie's Theme is really harmonically linked to what Incanus calls the Playful Horse theme. So I think that theme specifically applies to the relationship between Emilie and Joey.
I'd still keep the Dartmoor Theme labelled as such as it just seems right to me (despite its many appearances with Albert). I think the theme continues to stand for Albert and the Dartmoor locale as a whole. Its more of a calling to Albert's home. So whenever it plays outside of Dartmoor, Albert's just thinking of home. And while it makes sense to label the final theme as the Reunion theme, I don't think one should overcomplicate the score as it continues to stand as a more evolved rendition of the Dartmoor/Albert theme. I still think it can stand for Albert and Dartmoor as a whole as when Albert returns with the horse at the end, what Jason labels as the Reunion theme plays out on the piano. So its in my continuous belief that the Dartmoor/Albert theme is evolved to attune to the changed experiences of the people of Dartmoor and more specifically, Albert and his family.
Finally, to those complaining about the lack of a dominant theme in War Horse. Well, there are several unreleased statements of the Bonding theme in the film which really makes the come out as quite dominant during the theatrical experience. Just thought I'd point that out.
- KK
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I watched the movie last night. There is actually quite a bit of unreleased music. Off the top of my head, around the plowing scene, the woodwinds take on the war theme. There is a cello solo somewhere and a horn solo after the Emilie scenes. There are also a couple of unreleased statements of the bonding theme. Thats all I remember at the moment.
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Well looks like I went on holidays just as things were getting interesting.
Indeed. I think you left precisely the day the trailer was released, and all hell broke loose. You'll have to read the 50 last pages to catch up everything that has been said. In the meantime, you should know that the member known as "K.K. The Merciful" has stolen your job as "Grand Music Analyst" of this forum.
Better give us some deeper thoughts on The Company Of The Dwarves' theme than the ones K.K. gave us. Else, I'm afraid we'll have to ban you.
Apparently I've done an inadequete job of being you while you were away, Incanus (although I wasn't trying to be, I can't handle that kind of pressure!
). Ayways its great to see you posting again, hopefully you enjoyed your holidays. After forgiving Bloodboal for his negligence (he dared called the dwarves theme "generic" at first...stirred up quite the drama ), I seemed to have been blessed with the title of "KK the Merciful". I had to also fight off some blasphemous claims on Shore's music for LOTR while you were gone (look at the Tintin Sequel thread)...I was practically doing your job (or so others have told me...)! Pull it together man! 
The analysis btw is somewhere on this page:
http://www.jwfan.com...c=14385&st=2800
Talking about the Dwarves' theme, while I like it more with each listen, I truly hope this won't be the main theme for both films (a la History Of The Ring). This is The Hobbit, after all, so it seems only natural that the main theme should be Bilbo's theme, or some new theme related to the Shire.
I doubt this will be what the "History of the Ring" was for LOTR. It will be much like the Fellowship theme as in it'll receive significant showtime at the formation of the company and become more sparse as we approach the end of the second film. I believe the larger focus will be on the new theme Shore concocts for Bilbo and the Lonely Mountain. Speaking of the Lonely Mountain, I was discussing this interesting idea with someone back on the Filmtraks board.
If you listen to 1:12 - 1:31 at Very Old Friends (FOTR CR), you'll hear this haunting tune on a light female voices. This plays over the scene in which Gandalf mysteriously looks at the Lonely Mountain/Smaug when he picks up the map. Another fellow suggested Shore might expand on this tune in the upcoming Hobbit films. Now initially, I found that highly unlikely. But after some time, it no longer seemed so far fetched. This is what Doug Adams writes in his analysis of this cue:
"Of course, yet another kind of expectation is articulated in a passing glance ata familiar-looking map adorned with a dragon. Shore smiles, 'It's just a little hint of mystery and intrigue'" (Adams 142).
Its quite possible that this could be something to look forward to in the Hobbit films. After all, people thought the Gondor theme wasn't really a theme when they first heard it at the Council of Elrond scene (although, in that case, Shore was prepared for 2 more LOTR films where as he did not know The Hobbit films were to exist in the future). If Shore brings this melody back, I would be overjoyed! It just excites me when Shore pays attention to all these tiny thematic details!
Let this Dwarves' theme be the main theme of just the first film (as was the Fellowship's theme sort of the "main" theme of FOTR)
Many themes that live deserve death. Some that die deserve life. Can you give it to them BloodBoal? Who are you to pass judgement on thematic placement?
Mckellen looks like he never left the role. The dramatic intonations, the pauses, the voice, the looks. it's all there.
McKellen looks like he's impersonating himself playing Gandalf. That's... weird.
McKellen's performances seem brilliant , as usual. Although that was to be expected! To think that there was actually a moment of doubt about his return. As noted before, I also like how PJ and crew designed the staff so that it appears to be blooming into its incarnation in the trilogy. Martin Freeman however has surprised me. He seems like the perfect young Bilbo (I expected to be disappointed)!
- KK the Merciful
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And so dies my last hopes of witnessing Williams 6th victory at the Academy Awards this year...I should have known Williams lost his chances once The Artist came around (still have to listen to that score...looking forward to it).
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Woah, I can't believe I've forgotten this! I apologize, its been the longest time since I've listened to the commercial releases, whenever I feel like LOTR, I just play the CRs. But I can see why one would get frustrated at the omission of the choral material there. That sucks...I guess you can't have it all, can you?
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Alright, it may be the lack of sleep, but I'm having trouble following this. How is the choir omitted from The Wolves of Isengard and the first disc of FOTR....its all there!!!
Sure. Because it's great film music. Not very interesting outside of the film.
If LOTR is not very interesting outside of film as music...then I don't know what is!!!
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No arguments there!
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There were tons of complaints with LOTR. People weren't pleased with the commercial releases (which is understandable), then people complained about there being too many commercial gimmicks (again, understandable), and then people complained that the Complete Recordings were too long (heresy I say!).
To me, the Complete Recordings are the closest things to heaven I've got!
- KK
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I'm not so sure about that. John Williams is my favourite composer after all, and his scores obviously showcase an extraordinary sense of diversity. If JW scored LOTR, no doubt he would have provided a very diverse score in terms of tone and flavour and such. But I don't think he would have done as Shore in the sense of instrumental and textural diversity. For instance, Williams may gave given similarly toned female choral tone for the elves. But I don't think he would have went in the direction that Shore explored such as given Lothlorien exotic eastern tones (which work brilliantly for the film). I don't think many composers would have gone as far as giving Mordor a Rhaita reed to accent the theme, representing Rohan with a Hardangar fiddle, adding sitars to the Lothlorien music and etc.
Then again, its really to tell what Williams would have done. I'm quite aware of Williams' diversity, and his countless classics showcase that. I guess when I think of Williams scoring LOTR, I keep thinking Star Wars (which is clearly not right). Perhaps its because of the similar leitmotivic techniques. Perhaps I should also correct myself and say that Williams would have served the films with subtlety when needed as shown through his fantastic subtle works.
In the end, I believe Williams can do anything, and as I've said before, he would crafted some great scores for LOTR. I'm a huge JW fan after all (favourite composer, great idol, etc.). I just believe that even he might not have nailed the films as well as Shore did.
At this point, this conversation might be getting redundant. There are composers such as JW who would have done a fine job with LOTR (as with any film in JW's case), but just not as good as Shore. Thats just what I think. Simple enough, I suppose.
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I still believe that nobody can score LOTR as well as Shore did! And I strongly disagree with anyone who disagrees with that!
Did you discover Howard Shore through LOTR?
Yes, but only because the LOTR scores are amongst the first scores I've ever obtained.
Did you discover film music through LOTR?
Nope, that honour goes to Star Wars. But after watching the films, the LOTR scores are what got me into seriously collecting.
Do you absolutely and unconditionally love every single aspect of the LOTR movies?
Almost, there are a few details I would pick with in the first film. Other than that, yes.
Do you think that the LOTR movies are among the best films ever made?
Indeed. Amongst the greatest cinematic achievements ever.
If you answered yes to one or more of these questions, your opinion is hardly surprising.
Hehe. I see what you did there
Its true, I'm a pretty die hard LOTR fan, but when I say Shore was and is the best man for the job, I'm trying to say it without any bias. I mean, I genuinely believe no other composer would have achieved the same level of thematic ingenuity, the right level of balance between subtlety and bombast, and the extraordinary sense of diversity. I think if it was John Williams as the composer, he would have composed a great bombastic score with several themes, but it wouldn't have been as diverse or subtle when needed, and his style may not have been right for Jackson's intentions. If Poledouris scored the film, he would have hit the nail closer, but as mentioned before, his blockbuster style would not have been subtle enough (however, he might have been closer to Shore in terms of diversity). And I don't think both of these composers would have gone as far with the thematic relations as Shore did.
But then again, this is just my opinion. So nobody really needs to get riled up by it
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Recently, I also watched the Tintin film. I really enjoyed the movie! Its been really long since we've seen a classic Spielberg adventure. And I've got to say, its been quite some time since I've had so much fun watching a movie in the theatres. The animation was superb and the cinematography was stunning! This film was just so much fun!!!
In fact, its gotten me into finally starting the comics
A friend gave me a set of Tintin comics for Christmas. Yesterday, I finished the one with the Golden Crabs, and I kept pointing out the parts I saw in film!- KK
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Poledouris would have indeed crafted a fine score that would have fit Jackson's vision of Middle-Earth. But as good as what Shore gave us? Doubt it. I mean I really am finding it hard to digest the fact that some people don't agree (although everyone is entitled to their own opinion). Shore's score fits the film like a glove. And not any normal glove, its a glove that is so finely crafted that it attunes to every hair, lump, nail and tiny detail that is on the hand that is LOTR (kk, maybe not the best metaphor, but it works
). What I'm basically trying to say is that it really is hard to imagine LOTR without Shore's score. Any other sound attached to it just won't work as well as Shore's magnum opus!Just reading Doug Adams' book confirms that no composer would have gone to the same depth and incredible attention to detail that Shore does.
So yes, I still believe that nobody can score LOTR as well as Shore did! And I strongly disagree with anyone who disagrees with that!
- KK
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I can totally imagine people saying that Shore invented the choir!
But that review is ridiculous and very uneducated! I can't believe that the best score of 2011 is receiving this kind of thrashing...I'll have to judge how the score works in film when I watch it next week....but I'm certain that the score will work fine in film. Williams rarely fails to accompany the film perfectly with his music (he knows when to be restrained when necessary and he knows when to unleash orchestral force when needed).
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Its quite likely that John Williams would have went out of his way to score a score of great intellectual heights. And I'm almost certain he would have scored the film quite well (definitely better than most composers). After all, JW is capable of anything! However, I just believe that a score by Williams would have given a totally different vibe for LOTR which would not have been in accordance to Jackson's vision. Then again, I can't imagine a Horner score working for LOTR as well and he was one of the composers initially taken into consideration.
I still stand by that nobody could have scored LOTR as well as Shore did.
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Technically ANYONE can score LOTR. But not everybody can score LOTR well.
And nobody could have scored LOTR as well and masterfully as Shore did.
- KK
P.S. Personally, I don't think Williams style would suit LOTR, but I definitely believe Williams shall score Tintin's sequel with PJ with amazingly effective results!
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I'm quite certain Williams will score the sequel. I mean its the same team, and just because Peter Jackson is directing, it doesn't change the fact that Spielberg will be EXTREMELY involved in the process. So just like Jackson got Andy Serkis (to our delight) in for the first film, Spielberg will probably go out of his way to make sure Williams is involved (and when Spielberg asks, Williams rarely refuses).
So yes, we probably will see the maestro return for an awesome sequel! Can't wait!
- KK
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I've come to think Harry Potter and the Sorcerer's Stone is equal to the big scores of the late 70's and early 80's
I'd agree. I'm surprised that people around here aren't very fond of the HP scores. The first one is definitely amongst Williams' most enjoyable. I would argue that the first one is a Williams classic.
Another thing I've noticed when I saw Tintin is that while the score is mixed loud in general , all the statements of Tintin's Heroic theme have loud sound effects lessening it's impact
I thought the music worked brilliantly in film (haven't noticed the sound effects thing). And we definitely get fuller statements of Tintin's theme which is great. I loved the film, the score and the album. I would give 5 stars for all
Considering how I only watched the film on Wednesday (opening night), I guess I'm kinda late to the party...
Merry Christmas!
- KK
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To me, the trailer for The Hobbit is cooler than the trailer for The Fellowship of the Ring.
Agreed. The Hobbit trailer does a better job of conveying a sense of fantasy as well. As for the comedic aspects, people have got to keep in mind that this is a children's book we're talking about, so you'll definitely have comedic moments in the film. Initially I was worried about the dwarves, but watching this trailer, I think Jackson has cracked down to the right balance. My only issues with the dwarves is the Thorin, the height of some of them and the dude with the axe on his head
I also believe the trailer does indeed portray mystery and intrigue. The dark shots of Gandalf thinking and smoking, the mysterious dwarf chanting and the shots of Gandalf at work in Dol Guldur were very effective in drawing the audience in.
As for the clean shots. I'm really looking forward to the 48 fps film. But I think you've got to give them a chance with the Rivendell shots and everything. I think WB rushed out the trailer, and they have an entire year to fix up the visuals, so really its too early to complain about that. I'm sure WETA will be adjusting the "too pristine" shots.
This was a trailer that was very well conceived. Jackson never reveals anything major, and for those of us who are very familiar with the book, he adds other out of context shots to keep us intrigued (ex. Galadriel and Gandalf). And the shot of the ring and Gollum is a brilliant throwback to the LOTR trilogy. I recall the audience clamouring in excitement (some even cheering) when Gollum came on screen at the end of the trailer while watching this on the big screen. This is definitely a better trailer than the FOTR one (the FOTR teaser that Blumenkohl put up is good, but the trilogy has definitely had its fair share of bad trailers...).
I could not be more excited! What a way to lead into the holidays!
Merry Christmas!
- KK
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As for competition in terms of musical analysis, I wouldn't be so sure about that...But I'm willing to challenge Incanus or anyone else here to fight to the death for the title of "most obsessed LOTR fan" (the most extensive knowledge of the texts, films and music is required along with the obligated craziness!).
Actually, to be called "most obsessed LOTR fan", you need to be able to speak Quenya, Sindarin and Khuzdûl, along with a bit of Black Speech. And only the Dutchman knows that one.
You'd be surprised...
I'm pretty fluent with my quenya and sindarin. I must confess however that I am terrible with Khuzdul although the little I know of Black Speech is actually quite good
One of my favourite things to do is to start randomly chanting the Prophecy to some of my friends...sometimes I can really scare them with it (although most often they just roll their eyes!).Talking about Incanus... I'm worried about him. Where the fuck is he? We need to hear his comments on the trailer. I hope he didn't think: "This is Christmas. I should spend time with my family, not with some weirdos on the net" or some shit like that.
God forbid, that would be the most horrid thing to do. I mean family over creepy folk on the web? Next, you'll tell be telling me that Trent Reznor and Atticus Ross are NOT better composers than John Williams...the thought of it all...ridiculous.
Me too. Why in the name of fuck did I think this sounded like generic trailer music? I think I'm a dickhead for saying this!
Well put! I nearly choked when I read your previous post. You have no idea about the crazy reprimands I had prepared to torture you for this. But considering everyone here has already taken their fair share of scolding and the fact that you redeemed yourself (and saw the light!), I decided to let ya go.
How kind of you! From now on, I shall call you "KK The Merciful"
I really like the ring of that...maybe it'll catch on
Had people not heard the Gondor theme before the RotK trailer in FotR as well as in TTT, I think some would have said the same thing.
Not sure about that. I didn't notice the Gondor theme until TTT Extended Edition, which was released after ROTK trailer, yet I didn't thought it sounded like generic trailer music back then. The trailer version does sound different from the final version in the film, though, and I'm sure, as you already said, that it will be the same with the Company of the Dwarves theme.
I believe what he meant was how the the descending string figures with the ritardando conclusion was something that has often pertained to trailers and their music. You wouldn't imagine that kind of format on film, so in that sense, Shore did manipulate the theme to follow a trailer structure. The trailer music for both RotK and the Hobbit remain awesome nonetheless!
So says,
KK the Merciful!
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Nice little tribute to FOTR, KK. One question, though: why is it "Filed under: Ramin Djawadi"?
Oh no reason...I guess I'm just preparing in advance for Shore to get the boot and Djawadi to take up the reins of the greatest fantasy franchise of all time. Not the first time he's done something of the sort and I'm sure a certain big budget television production will come to mind....
Alright I take it back! Thats not even something to joke about! It was just an honest mistake! I'm sorry!!!
PJ posted something intriguing on his Facebook page:
Hi everyone! This year is the tenth anniversary of the release of The Fellowship of the Ring, and we wanted to give the fans a Christmas treat ahead of the release of the two Hobbit movies in Dec 2012 and 2013. Stay tuned for more. Cheers!Sounds interesting...
What is he hiding, precious...? What does fat Jacksonses have in his pocket....?
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Warning for those of you who are waiting to see Tintin to watch this trailer: The Hobbit Trailer not showing with 3D Tintin!
But thats not right, it is! I watched it on IMAX 3D today, and I also have friends who watched on only 3D tonight. The trailer is definitely attached to the film
Do you live in the US? If not, that may be the reason why it was attached to Tintin 3D nonetheless.
Nice musical analysis of the trailer, here, KK. The Finnish boy has some competition, now! By the way, where the fuck is he?
Ahh...that makes sense! I live up in Toronto, Canada (the country with the igloos, guys with funny hats, and blubber nuggets...or at least thats what they tell me...
).As for competition in terms of musical analysis, I wouldn't be so sure about that...But I'm willing to challenge Incanus or anyone else here to fight to the death for the title of "most obsessed LOTR fan" (the most extensive knowledge of the texts, films and music is required along with the obligated craziness!).
This trailer is very well assembled. I like the source music.
Hopefully you liked the original music too
Me too. Why in the name of fuck did I think this sounded like generic trailer music? I think I'm a dickhead for saying this!
Well put! I nearly choked when I read your previous post. You have no idea about the crazy reprimands I had prepared to torture you for this. But considering everyone here has already taken their fair share of scolding and the fact that you redeemed yourself (and saw the light!), I decided to let ya go.
- KK
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The trailer is amazing!!!!! I love it to death!!! And boy, I've re-watched it a million times!
By the way, this trailer is definitely attached to Tintin, because thats where I watched it!
As many have suggested, what I love about this trailer is how it portrays a soaring sense of fantasy! The scene with Galadriel and Gandalf sends chills down my spine. The montage of the epic scenery of Middle-Earth is stunning as usual (and when Gandalf pins down that staff...a definite "You Shall Not Pass" moment there). This trailer has erased my previous doubts about the dwarves. I think I'm used to their odd designs and I now confidently believe that Jackson will find the perfect balance between the comedic and epic aspects of the film.
As for the music...its clearly NOT synth!!!!! And its very clear that its Shore's music. Even with this trailer, you can see the same dedicated care that Shore takes with the music. Let's do an analysis, shall we?
From 0:05 - 0:27 we hear the lovely Shire theme that we've all come to love and cherish ending on quite an interesting note (in some ways it brings vibes of the Ring theme).
At 0:28, we hear a lovely melody with the Shire's familiar tones. This may stand for a new theme for Bilbo himself or maybe a premature variation of the Shire theme.
0:35, the highlight of the trailer's music begins. As the dwarves are being introduced by Gandalf, this fantastic ominous theme is quietly hummed by a male chorus. The theme builds off the deep, muscle-powered vibe of the dwarves' material in LOTR. The theme sounds very ancient, dark, archaic and very earthy in a hymn like fashion. It gives off the vibe of a Georgian chant and excellently sets the appropriate mood for the trailer. The theme then reaches its heroic heights from 1:48 where the brass soars (and fans of film music groan in pleasure). Shore's trademark "skip beat" accompanies the theme much like it did in the most heroic moments of the Fellowship theme in FOTR. This clearly proves that this theme may essentially be the "fellowship theme" of the company of dwarves. Its really stunning to hear this theme as we're exposed to the beautiful visuals of Middle Earth (aka New Zealand) -oh and don't forget Gandalf's epic staff moment-
The trailer ends off on a very ominous note with a hint of the ring theme at 2:24-ish as Gollum appears (audience cheered when we saw him
). Clearly this is original Shore music considering the new variations we hear on familiar old themes from the trilogy. Moreoever, the dwarf company theme is clearly Shore's work consider his trademark skip beat is there along with the trailer's music decorated by many of the familiar orchestral clusters of the the harmonies of the ring theme.
I could literally NOT be more excited for the film and the music. After seeing some of the designs of the dwarves, I had my doubts....but this proves that Jackson indeed intends to make this an entertainer in all aspects (comedic, epic, etc.). Not to mention the return of so many beloved characters (Gandalf in action, Galadriel, Frodo and Ian Holm as Bilbo!). Furthermore, for those afraid that Shore would disappoint, this trailer definitely proves otherwise!
I'm salivating at the prospects of what we'll get next year! It will be an agonizing wait....but hopefully there will be enough samples, excerpts and previews to keep me alive!
- KK
The scenes with Gandalf intrigue me... Don't know where that's supposed to take place. That doesn't look like Dôl Guldur to me, yet I have no idea what else that place could be.
Moria?
Some shots, maybe. But there are others that are in broad "daylight" (especially the one where he is fighting a goblin)...
Warning for those of you who are waiting to see Tintin to watch this trailer: The Hobbit Trailer not showing with 3D Tintin!
But thats not right, it is! I watched it on IMAX 3D today, and I also have friends who watched on only 3D tonight. The trailer is definitely attached to the film
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I don't want to watch the trailer yet! I'm watching it tomorrow when watching Tintin on IMAX for the opening night. I don't want to spoil myself! But I've heard about this fantastic new theme thats heard in the trailer. I'm so tempted to click that play button, but I must resist!!!!
In the meantime, I'll drool at this new poster!
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I won't be watching the trailer tonight (as much as I want to!). Instead, I'm going to wait till I see it on the big screen tomorrow with Tintin on IMAX! Holy crap, I can't wait!
- KK
War Horse MOVIE Discussion thread
in General Discussion
Posted
I finally watched the film last night. I was never a fan of horse films, but I really liked this one. The opening was a bit cliche and cheesy but after we get past the first act the rest of the film ranges from very good to brilliant.
As I said before, I found the opening act to be a bit cheesy but it all makes sense (never found myself confused). They didn't own Joey's mom, Albert was simply fond of horses (so he spent much of his spare time doing nothing useful but stalking horses
). The horses he was following at the beginning coincidentally had Joey's mom amongst them.
As for you second question, you got it wrong. The Landlord said something like "you've got till October to give me the money IF you can plow the field with that horse". So they had to successfully plow the field first if they wanted the extension. Since it looked like they initially failed, the landlord told them to pack their bags.
The town stood there and watched because they were amused by Albert's attempt to do the impossible. No one wants to help someone do the impossible. After Albert first succeeded though, his triumph is an independent thing. Also, how exactly could the town have helped? Plowing could only be done by one man if there is only one machine and one horse. All the farmers plowed the fields by themselves, Albert was just doing his job. So really, none of the townsfolk could really help him. Moreover, after they saw him finally get the plowing started, people left (they weren't going to stay for the whole thing, it was raining!
).
Agreed, Act II was fantastic! Firstly the war scenes were conceived brilliantly! And I really got attached to the horse (to my own surprise). On another note, I disagree with the scene with the English soldier and the German soldier. It was a great scene that shows how both sides really felt about the war. Thats one of the things I loved about this film, using the one horse, the film covered the many different perspectives of the war. The scene with the two soldiers in No Man's Land wasn't unrealistic because it happened a few times in reality. The most iconic example would be during Christmas when both sides came out on peaceful terms to talk with each on No Man's Land. It seems ridiculous but it was something that happened at times.
Nah. I think its more effective that Joey got to bond with so many different characters (including the English soldier). It would have been too coincidental if Albert saved Joey (that just pushes the "cliche" button a whole lot). Also the fact that Albert was blinded shows that he's had his fair share of sacrifice in war which I felt was definitely necessary for the audience to feel sympathy. Also, keep in mind, isn't this all based off the book and the play. Theres only so much one can change the context before being bashed by a whole new group of critics.
I really liked that Emilie's grandfather came back, but as you said, the lack of explanation for Emilie's fate is probably my only gripe after the first act. But it adds to mystery and gets the audience involved so its good. I thought the ending was good too (with stunning cinematography), it not a bit cliche.
In the end, I thought this was quite a great film. I really enjoyed it. I thought I would be disappointed with it (even to the point of hating it) as it was a horse film. But the film really is a stunning achievement. With amazing cinematography, beautiful visuals, brilliantly conceived war scenes, the film dazzled. But I really like how the horse managed to keep the audience filled with empathy for him and the many different characters he connected with. I actually felt something when the German boys were shot and when the horses were taken away from sweet Emilie. The fact that the film showed the many different perspectives of the war is great. I say this is a fantastic film (and probably the best horse movie I've ever seen...but that doesn't say much
). Another great Spielberg war drama (may not be as good as his other war efforts, but its still a great film).
Indeed. I too thought that the beginning was a tad bit overscored, but other than that, the score worked brilliantly in my opinion. Most of Act II and III, the score was quite restrained to attune to the visuals. II find many of these complaints ridiculous (with exceptions to the beginning, but by the end of the film, you forget all that). Even at the few moments of Williams bombast work to the film's advantage. One moment I particularly remember is the scene with the canon where Joey puts himself forward to spare Topthorn the horrible fate. The tragic boldness of the music is what really helps us empathize with the horses in that powerful scene, if it weren't for the music, it won't just look plain silly.
- KK