Justanothercrow421

Taking my stab at DUNE
 

 

 

I totally understand this interpretation of that scoring, and at a time, I may have had a similar reading. But today, I read it as a much more mournful moment. I don't mind the score here, but I do agree with you that keeping this silent would've probably been more appropriate.

As a counter to this, I'd say the most controversial decision in terms of scoring is probably the entrance of "The Last Battle" when Upham shoots Willie. It's absolutely symbolizing lost innocence and trauma however you slice it, but Williams' major harmony contributes to a romanticization of that lost innocence. There's a reading here that Upham's earlier appeals to ethics and the rules of war had simply been naive and now he's all grown up, shooting the same surrendered POW he'd previously let go. It makes Upham the most difficult character in the film to wrestle with...the movie puts me so in the headspace of war that Upham's pleas for civility become a nuisance, it's one of the most terrifying things about the movie, and Williams going into "everything's gonna be ok" mode when Upham finally gives in to bloodthirst is arguably too comfy. 
 
 
It's a small but extremely important point, I think, because there is so little music in the film that every note feels deliberate. Williams is underlining something has changed in Upham, but it may have been the wrong instinct because the music softens the moment to give off what seems like quiet masculine strength, rather than just letting the act speak for itself. If they'd let this moment play out silently, I think it'd have been more ambiguous. There would still be people in the audience satisfied by Upham's revenge, but you wouldn't have what can absolutely be perceived as straight heroic undertones to support that view. 

Hm. I don't remember it that way. Interesting point. I planned to watch it again anyway. Thanks for your exposition on that point. I will watch and rethink mine.

That isn't what I feel at all while watching Saving Private Ryan. 
 
This film reinforces the tragedy, violence, and randomness of war. It doesn't glorify the so-called "Great War" but it does attempt to find some meaning for it for these few men. 
 
I've returned to the film time and time again because it's a masterclass in direction, blocking, editing, visual storytelling (production design), subtle use of music, and acting. It's a sober look at World War II and I do think it's a beautiful and mature film.

That isn't what I feel at all while watching Saving Private Ryan. 
 
This film reinforces the tragedy, violence, and randomness of war. It doesn't glorify the so-called "Great War" but it does attempt to find some meaning for it for these few men. 
 
I've returned to the film time and time again because it's a masterclass in direction, blocking, editing, visual storytelling (production design), subtle use of music, and acting. It's a sober look at World War II and I do think it's a beautiful and mature film.

Some movies are just a "good bad time" and that can mean something different for different people.
 
I've always wondered about this ever since I started getting into film message boards. There are so many acclaimed horror or provocative art films that I've checked out through lists or reading discussion that I have just found sickening to watch, certain filmmakers I've learned are not for me. But other people claim to rewatch them all the time because it gives them something.
 
I used to be baffled by this but then I thought "Well...why have I seen Schindler's List and Saving Private Ryan like five times each when others feel it's too much or offends them somehow? But I have no urge to rewatch The Passion of the Christ, Hereditary, Come and See, Son of Saul, or Dogtooth, and no desire at all anymore to even give something like Funny Games a chance?" 
 
I feel the same way about movies that make people cry. Some people seek that out in film while others avoid it. Often if a movie makes me cry, I'll give it an extra half a star because even if the story is a little cloying, I feel it's moving something in me that's true and it's a physical response I somehow appreciate, even out of a really crappy movie. Whereas other people resent that response if they're feeling manipulated. 
 
Sometimes I feel like I can't understand THAT, like if someone admits E.T. made them cry but in a way they found revolting. But then I realize I'm more prone to that kind of resentment if a movie makes me angry or disgusted. The ending of Catherine Breillat's Fat Girl intentionally made me furious in a way that I hated. Those kinds of film experiences have made me wary when I read or see clips from stuff like Funny Games, and I don't have the urge to follow up with other directors I've struggled with like Lars von Trier, Yorgos Lanthimos, Ari Aster. I don't think I'll ever watch Cannibal Holocaust or Salo. 
 
Others seem to thrive on their anger responses, it activates and motivates them in life, art, entertainment, sports, politics, so forth. Which can be healthy or unhealthy like anything else. It seems to be what attracts people to punk, rap, heavy metal, certain video games. I was reading a post by Roger Deakins on his website that he loves the work of Peter Watkins like Culloden and The War Game, and watches them over and over because they make him so angry. Which is interesting because he seems like a calm, centered person but it must help him deal with the world. I can understand that about Watkins' work, or Keith Maitland's film Tower which I'd give a 10/10 no question. Schindler, SPR, Munich definitely inspire anger and disgust in me but Spielberg's presentation and POV compel me to revisit them. He has a knack for adjusting the temperature of a movie that feels right to me more often than not. 
 
But that's why I feel the idea of "liking something that makes you feel bad" is so complicated. It's a taste thing but it can also be a worldview thing or even an actual physical thing you can't help, like movies pushing your body to weird limits. Whether that's a cute puppy running home to a soaring orchestral score or a cute puppy graphically disemboweled in an alleyway. Some perfectly nice people hilariously squirm at the former in a way they can't bear, but the latter in a way they "enjoy" in the right context. Movies! 

That isn't what I feel at all while watching Saving Private Ryan. 
 
This film reinforces the tragedy, violence, and randomness of war. It doesn't glorify the so-called "Great War" but it does attempt to find some meaning for it for these few men. 
 
I've returned to the film time and time again because it's a masterclass in direction, blocking, editing, visual storytelling (production design), subtle use of music, and acting. It's a sober look at World War II and I do think it's a beautiful and mature film.

That isn't what I feel at all while watching Saving Private Ryan. 
 
This film reinforces the tragedy, violence, and randomness of war. It doesn't glorify the so-called "Great War" but it does attempt to find some meaning for it for these few men. 
 
I've returned to the film time and time again because it's a masterclass in direction, blocking, editing, visual storytelling (production design), subtle use of music, and acting. It's a sober look at World War II and I do think it's a beautiful and mature film.

This is the chronological order for anyone interested
 
If you have the LLL:
02 Revisiting Normandy (4:06) 03 Omaha Beach (9:15) 05 Approaching the Enemy (4:31) 04 Finding Private Ryan (4:37) 07 Wade's Death (4:30) 11 High School Teacher (Film Version) (4:31) 06 Defense Preparations (5:54) 12 The Last Battle (Film Version) (8:02) 01 Hymn To The Fallen (6:10)  
If you only have the OST:
02 Revisiting Normandy (4:06) 03 Omaha Beach (9:15) 05 Approaching the Enemy (4:31) 04 Finding Private Ryan (4:37) 07 Wade's Death (4:30) 08 High School Teacher [0:00-2:39] / [9:30-end] (4:12) 06 Defense Preparations (5:54) 09 The Last Battle (7:57) 01 Hymn To The Fallen (6:10)

I've got the digipack version, which is worse than not having it at all.

The circle is now complete.

Southern Messiah is awesome. That cue gave me chill during the film. Truly epic. 
 
The Seduction theme is a new theme for this score (but it was featured around the 10:20 mark of  Song of the Sisters in the Sketchbook) that is associated with the Bene Gesserit. 

Saw the film tonight and there is A LOT of music that is not on the soundtrack. The score BOOMS in IMAX. What an unforgettable experience.

Saw the film tonight and there is A LOT of music that is not on the soundtrack. The score BOOMS in IMAX. What an unforgettable experience.

Wasn't there a whole to-do that said London isn't part of Europe?

There have been screenings of the film for critics and I'm personally going to see the film on Sunday. 
 
 
The movie is almost 3 hours long and we have 81 minutes of music here. Fairly certain there will be a good amount in the film that we haven't received here!
 

This is a much darker score than the first. There are lots of variations of the "Holy War" theme (which was my favorite theme from the last score) and the Atreides/Love Theme is absolutely rousing. "Kiss the Ring" in particular is GLORIOUS. 

This is a much darker score than the first. There are lots of variations of the "Holy War" theme (which was my favorite theme from the last score) and the Atreides/Love Theme is absolutely rousing. "Kiss the Ring" in particular is GLORIOUS. 

Dune
 
Made this for Part One....

To match the new studio album art for Part Two...
 
 

Dune
 
Made this for Part One....

To match the new studio album art for Part Two...
 
 

Dune
 
Made this for Part One....

To match the new studio album art for Part Two...
 
 

Digging through social media, it's looking more and more like Part Two will be released on vinyl and CD by Mutant (which was founded by former Mondo founders) this Friday (maybe a pre-order, but hopefully not). Greg Ruth will likely provide the art (as he did for the physical releases of all Part One music).  
 
We'll see on Friday...

Digging through social media, it's looking more and more like Part Two will be released on vinyl and CD by Mutant (which was founded by former Mondo founders) this Friday (maybe a pre-order, but hopefully not). Greg Ruth will likely provide the art (as he did for the physical releases of all Part One music).  
 
We'll see on Friday...

ok