Harry Gregson-Williams - The Last Duel (2021) - New Ridley Scott movie

[Edmilson 7,392]

Quote

Composer Harry Gregson-Williams (The Chronicles of Narnia, Shrek, Mulan, Man on Fire, Unstoppable) is reteaming with director Ridley Scott on the upcoming period drama The Last Duel. The film is directed by Ridley Scott (Gladiator, Alien, Blade Runner) and stars Matt Damon, Adam Driver, Jodie Comer, Ben Affleck and Harriet Walter. The movie is set in 14th century France and tells the tale two of knights whose bond is tested by treachery and a young woman forced to navigate the brutal and oppressive culture of the era in order to survive. Affleck & Damon also wrote the screenplay with Nicole Holofcener (Enough Said, Friends with Money) based on Eric Jager’s novel of the same title. Scott and Holofcener are also producing the project with Jennifer Fox (Nightcrawler, Michael Clayton) and Kevin Walsh (Manchester by the Sea, All the Money in the World). Gregson-Williams has previously scored Scott’s 2005 epic Kingdom of Heaven & 2015’s The Martian and also provided additional music to the director’s Prometheus and Exodus: Gods and Kings. The Last Duel is set to be released in theaters nationwide on October 15, 2021 by 20th Century Studios.

 

http://filmmusicreporter.com/2020/12/15/harry-gregson-williams-to-score-ridley-scotts-the-last-duel/

 

Goood news! HGW wrote some of his best work so far for Ridley Scott.

[crumbs 14,300]

Still annoyed he was dumped from Alien: Covenant after starting the scoring sessions.

 

Anyway, good to see them reteaming.

[Mr. Who 919]

Would be interested in hearing the rejected score for Covenant but this is great news!

[WampaRat 1,105]

Glad to hear this. Terrific news. I hope it’s a good experience for him. His work on some of Scotts prior films have produced some of his best work ever (Kingdom of Heaven, and The Martian IMO). But Scott LOVES to tamper with the scores of his films. Hope this one doesn’t get too mangled. 

[Thor 7,465]

Good news! Looking forward to both film and score.

[LSH 968]

The Martian is probably his purest score for Scott, in terms that it wasn't tampered or replaced by anything?

 

Anyway, it's brilliant. And so is Kingdom Of Heaven.... which, I reckon, this new score will be compared to, given that it's an early ages period piece.

[Thor 7,465]

Came back from this today. For the first time in a very long time, I was disappointed in a Scott movie. I've stood on the parapets and avidly defended films like the new ALIENs or EXODUS: GODS AND KINGS (and I will continue to do so), but this didn't do it for me. My main issue is the 'woke' element, which is bizarre when you consider that Scott has always been a pioneer in portraying strong female characters that grow organically out of the story (Ripley, Thelma & Louise etc.). In this case, however, it felt forced. Obviously, the source material could be blamed, but I still don't like the way the rhetoric was on display here, in its RASHOMON-like storyline (with the same story told by three different people). At some point, the Damon and Driver characters become stencils, to say nothing of the hilarious Affleck count, which seems to have walked in from an old ROBIN HOOD movie or something.

 

While Scott's visuals are always top-notch (plenty of trademarks here too, like chilly, blueish landscapes, candlelight lighting, snow flakes in the air), the storyline was too hurried to dwell on the surroundings, meaning that you never got the time to properly enjoy his mise-en-scene (and Wolski's cinematography).

 

So for those expecting another THE DUELLISTS (given the subject of the movie), I'm sorry to disappoint.

 

HOWEVER, I really liked the score. By no means another KINGDOM OF HEAVEN from HGW, but wonderful medieval instrumentation, some very defined themes and -- most importantly -- sparingly spotted. Really looking forward to listening to this on album.

[WampaRat 1,105]

1 hour ago, Thor said:

 

HOWEVER, I really liked the score. By no means another KINGDOM OF HEAVEN from HGW, but wonderful medieval instrumentation, some very defined themes and -- most importantly -- sparingly spotted. Really looking forward to listening to this on album.

This is all I really care about. I was very excited for HGW to return to a historical epic. But realizing this one was more of a court room drama/police procedural set in the Middle Ages- I wasn’t expecting a ton of floor rumbling battle cues. So I’m excited to hear what he comes up with.( I’m imagining something like “Name of the Rose” for some reason ?)

 

Ive actually always been drawn more to the quiet parts in HGWs Narnia scores or KoH. I imagine this gives him ample opportunity to play in those modes a bit 😊 

[Edmilson 7,392]

HGW disappointed me last year with his forgettable Mulan score, but I have high hopes for both this and House of Gucci.

[Richard Penna 3,670]

Aww, I got excited that this had been released  

 

And yeah, Mulan was completely forgettable unfortunately; it fell into the same box as Cowboys and Aliens and Origins Woverine.

[WampaRat 1,105]

You can hear a decent amount of music in this 4min clip.

 

 

[Drawgoon 100]

13 hours ago, Edmilson said:

HGW disappointed me last year with his forgettable Mulan score

I was surprised how it turned out too. I don't think that score was something Gregson-Williams was going to deliver on an ordinary day. I feel there must have been a lot going on behind the scenes with this one. Good thing he survived it though. Leaves some hope that he might be given other opportunities at the house of the mouse.

 

I like what I am hearing from the clip Wampa posted above. I tip my hat to Gregson-Williams for being able to write music for that scene. The bleak "weather" in the clip alone brought me done fast.

[Jay 37,287]

OST album now available anywhere it's already Friday

 

1. Duel Preparations (3:36)
2. Leaving For Scotland (2:42)
3. Marguerite de Carrouges (2:18)
4. Returning Home (1:14)
5. Jean de Carrouges (1:18)
6. Managing The Estate (2:23)
7. Court of King Charles (0:56)
8. The Wolves (2:33)
9. Confrontation (0:37)
10. Jacques LeGris (1:13)
11. I've Never Seen You Like This (1:12)
12. Confession (2:16)
13. I Offer You A Name (3:28)
14. House Meeting (0:58)
15. Chapter 3 (1:11)
16. Left Alone (1:17)
17. Forgive Me For Intruding (1:27)
18. Tell No One (2:28)
19. The Duel (5:12)
20. The Aftermath (3:08)
21. Celui Que Je Désire by Grace Davidson (3:49)

Total Album Time: 45:25

 

https://music.apple.com/nz/album/the-last-duel-original-motion-picture-soundtrack/1588814061

etc

   
 

[WampaRat 1,105]

Terrific cover. I dig that the album is only 45 min long. From what I’ve heard it’s a well-spotted film. Looking forward to his medieval court room drama score with a dash of action

 

Some more track previews here:

 

 

 

[Richard Penna 3,670]

Meh, why can't they just let it it loose everywhere once it's release day somewhere in the world. I only stay up past midnight at weekends these days.

 

With those short tracks, maybe HGW has taken the chance to put the entire score on the album? (slightly wishful thinking)

[WampaRat 1,105]

13 minutes ago, Richard Penna said:

Meh, why can't they just let it it loose everywhere once it's release day somewhere in the world. I only stay up past midnight at weekends these days.

 

With those short tracks, maybe HGW has taken the chance to put the entire score on the album? (slightly wishful thinking)

Yeah I have a hard time believing there’s only 45 minutes worth of music in the film. Maybe there’s a lot of diegetic music in it? Or heck maybe they go all Guardians of the Galaxy and have a giant collection of 70/80s rock classics in there…

[Richard Penna 3,670]

The film's 2 1/2 hours long 

 

Obviously it's possible there's very little music in it, but the Kingdom of Heaven album is only 15 mins longer than this, the first Narnia score is 55 mins, and they're both huge scores. I think he just doesn't like releasing his music comprehensively.

[Edmilson 7,392]

Speaking of which, I think some label should really make an expanded version of HGW's Kingdom of Heaven. There's a lot of cool unreleased material judging by the bootlegs.

 

It was recorded in London so I don't know if there'd be any trouble.

[WampaRat 1,105]

Yeah it’s amazing how much of his KoH material would find its way into His Narnia scores. He scored that one like he would never score another film in his life! Really terrific.

 

Side note: I had never listened to all of his Shrek scores before and was pleasantly surprised at how lovely those are all throughout. Some really great arrangements of themes in each entry. The fourth one in particular have a great final cue for such a fart-joke/pop culture referencing series of kiddie films. I’ll need to make a “best of” playlist for those scores.

[JNHFan2000 2,944]

7 hours ago, WampaRat said:

Side note: I had never listened to all of his Shrek scores before and was pleasantly surprised at how lovely those are all throughout. Some really great arrangements of themes in each entry. The fourth one in particular have a great final cue for such a fart-joke/pop culture referencing series of kiddie films. I’ll need to make a “best of” playlist for those scores.

I think the fourth one is the best. Great music. And the villain theme is great!!

[Mr. Who 919]

3 hours ago, JNHFan2000 said:

I think the fourth one is the best. Great music. And the villain theme is great!!

Agreed! He also wrote some very fun music for the witches in the 4th score.

[Drawgoon 100]

The song at the end is very, very good - it is my most favorite track on the album. I am not sure if I should even call it a song because it's sounds like the same vocals that's heard throughout the score - but more refined and polished here. The melody that opens that song (and used throughout), however, reminds me a great deal of Debney's "Bearing the Cross" from Passion. I wonder if that score was used in the temps.

[Richard Penna 3,670]

On in the background now, it's sort of ok I guess. Feels more like an album of alternates from KoH really, with maybe a less of the religious/geographical aspect.

 

The theme (the one in the song, and at least one other track) is definitely reminiscent of Bearing the Cross. The whole thing just feels lacking real memorability for me, which is a shame as I rather like this instrumentation and style of music.

 

Maybe there really isn't much music in the film, and it works more in the background than most?

[WampaRat 1,105]

Just finished my first listen. And I absolutely adore this score!

 

A beautifully crafted album as well. (Not sure why, but structurally it reminds me of HGWs The Martian.)

He takes his 7 note melody from the song and weaves it all throughout each cue in some form. Terrific choral,vocal, and percussive work used judiciously to build tension or drama. (He never goes overboard with the drums!) Beautifully subtle electronic embellishments in there too.  There’s even a very disturbing motif that appears midway through the album that I assume represents the terrible assault Margarite undergoes. (It’s a female voice/choir that slides up in a semi-wolf howl cry. Really chilling.) “The Aftermath” cue is a terrific cathartic cue for the end that seems to encapsulate some form of justice in the story yet doesn’t get too hopeful/rose-tinted. And then the fantastic song (a beautiful companion to HGW’s “Light of Life” from KoH) just brings it all home. 
 

If you’re a fan of Mychal Danna’s work on “Camelot” or even “Nativity Story”You’ll eat this one up:) Its what I was hoping for and exactly what I got. Give it another listen. It’s a jewel. ****

[Thor 7,465]

Good to hear, Wamparat. I kinda knew from hearing it in the film I would love this, but looking forward to delving into it when I get back from Berlin.

[Jules 59]

So glad to hear a good HGW again. And he's doing House of Gucci? Good potential there as well. 

 

I'm looking forward to seeing this, doubt that the rhetoric delivery will bother me as much as it did Thor. We'll see though, I guess.

[Richard Penna 3,670]

I think this one takes a few listens and a quieter environment to fully 'get', as it's a rather quiet and subtle score. I'm enjoying it now, and I agree that the 'song' is really nice - definiely on my purchasing list.

 

The Wolves is oddly effective (I get the impression it's a more poetic name, not literally referring to some wolves?) and one of my favourite tracks. It's sort of reminding me of something, but I can't put my finger on it. Same goes for the opening melody in Leaving For Scotland.

[Mephariel 451]

I really like the score. It is not too diverse in the soundscape but for what he was going for, I thought he did a good job. 

[Richard Penna 3,670]

I realised what the beginning of track 2 reminds me of:

 

 

[WampaRat 1,105]

Semi-related: Stumbled upon this terrific YouTube channel with thematic analysis and a plethora “score restored” videos for Kingdom of Heaven. (It might even belong to someone on this forum). In any case bravo! It’s great to see such academic appreciation for HGWs opus:)

 

https://m.youtube.com/channel/UCRF1iL3Nx_4XPIaAGL-6k_w

[Thor 7,465]

Quote

Sounds like you have the all clear, @Thor. Why did it bug you?

 

It's an issue I have with many films today in general, not only THE LAST DUEL -- that male characters are reduced to basically two types: A misogynic sosiopath which we can hate or a weak figure to be bossed around, which we can love as an ideal. Nothing inbetween. Yeah, it's the same way a lot of female characters have been presented in the past, but I just don't think the answer is to present the opposite. The best female characters in history; those that "empower women", are those that IMO merely grow organically out of a male-dominated environment. Perhaps even apply some of their feminine qualities too, like the maternal instinct. People like Ellen Ripley or Sarah Connor.

 

So I thought THE LAST DUEL had a lot of issues with that rhetoric. Also other rhetorical issues, where we're pounded over the head with the unfairness of it all, which only results in the loss of sympathy. Thomas Vinterberg's THE HUNT suffered from the same, where everyone communicated in such a vague fashion, just to create drama and misunderstandings to REALLY hammer in the unfairness of it all. I prefer to draw my own moral conclusions based on more matter-of-fact presentations. I think THE LAST DUEL lacked a lot of nuance in that regard, especially because the characters were wafer thin and stereotypical. And don't even get me started on Sarah Polley's WOMEN TALKING.

[Jay 37,287]

Huh.  I didn't think the characters in The Last Duel were wafer thin or stereotypical.  A more ambiguous ending would have been interesting though, like in The Hunt where you don't know which character is shooting at him

[Thor 7,465]

Really? I thought Adam Driver -- who I generally love as an actor -- chewed all the screen he could. Matt Damon too.

[Jay 37,287]

I remember thinking Ben Affleck was the scenery chewer! I don't remember having any issues with the leads

[A24 4,326]

I thought Damon was quite convincing in The Last Duel as the guy that always ends up pulling the short straw (as opposed to Affleck's character). He's capable of playing action heroes as well as drama roles. Also liked his acting in Suburbicon or even the small role he had in Interstellar.

[Jay 37,287]

His cameos in recent years have been fun.  Like in No Sudden Move and the Thor movies