Jump to content

Indiana Jones and the Dial of Destiny (Cannes Score reactions)


Jay

Recommended Posts

1 minute ago, Not Mr. Big said:

I'm willing to bet nobody's going to say anything about the score except how it uses "the stirring, iconic titular march".  Critics very rarely comment on the actual specifics of scores like this

 

Spot on:

 

Quote

With genuine emotion sewn into the story, it's not just John Williams' instantly recognizable score that hits the right notes."

 

https://comicbook.com/movies/news/indiana-jones-and-the-dial-of-destiny-reactions-reviews-cannes-harrison-ford-indy-5/

Link to comment
Share on other sites

https://www.hollywoodreporter.com/movies/movie-reviews/indiana-jones-and-the-dial-of-destiny-review-harrison-ford-james-mangold-1235495914/

 

This is a big, bombastic movie that goes through the motions but never finds much joy in the process, despite John Williams’ hard-working score continuously pushing our nostalgia buttons and trying to convince us we’re on a wild ride.’

 

Judging by the handful of reviews so far, the film isn’t that much of an improvement -if at all- over KOTCS. 

 

 

Link to comment
Share on other sites

Yep, just as we predicted: the reviews only mention the nostalgia evoked by the classic themes. Not a single word on the newer themes or what novelties this score brings to the franchise. I guess regular film critics only recognize "classic themes" - and only care about scores when they're Zimmerized.

Link to comment
Share on other sites

Quote

While Mangold’s film replicates many of the tropes of previous Indiana Jones instalments — and original composer John Williams contributes a score that reprises memorable themes — it’s missing their boyish spirit.

 

https://www.screendaily.com/reviews/indiana-jones-and-the-dial-of-destiny-cannes-review/5182251.article

 

Quote

And no, blasting the John Williams fanfare every ten seconds doesn’t mean that you’ve made a classic Indiana Jones adventure. The music, in fact, is so overused that it eventually acquires a nails-along-the-blackboard quality. “De de duh duh . . .” Oh, shut up!

 

https://www.thetimes.co.uk/article/indiana-jones-and-the-dial-of-destiny-review-even-fleabag-cant-rescue-him-this-time-xrlxsz5sg

Link to comment
Share on other sites

6 hours ago, Edmilson said:

Yep, just as we predicted: the reviews only mention the nostalgia evoked by the classic themes. Not a single word on the newer themes or what novelties this score brings to the franchise. I guess regular film critics only recognize "classic themes" - and only care about scores when they're Zimmerized.

I’m guessing that would need a better film (but they’re all dead).


There’s a saying:

If you like the film, you like the score. 

Link to comment
Share on other sites

7 hours ago, Edmilson said:

Yep, just as we predicted: the reviews only mention the nostalgia evoked by the classic themes. Not a single word on the newer themes or what novelties this score brings to the franchise. I guess regular film critics only recognize "classic themes" - and only care about scores when they're Zimmerized.

 

I don't know what else people were expecting from this. Most people will recognise the Raiders March if anything. Few (or no) reviews from previews like this will go into detail about new themes, set pieces or the sort of stuff we're interested in.

 

Plus we've already established from Rickman's assessment of the HP score that even people deep in the industry don't like old-fashioned orchestral music that most of us find exciting, hence the 'overused' quote above.

 

The album or the film will tell us how good this score is, or at least someone from our community seeing it and providing an honest, non-crowd-pleasing assessment.

Link to comment
Share on other sites

Quote

The action scenes are dutiful and competent, and John Williams’ rousing score does a huge amount of the heavy lifting, but they lack real spark or excitement. 

 

https://www.dexerto.com/tv-movies/indiana-jones-5-dial-destiny-review-harrison-ford-turns-back-the-clock-2150385/

 

Link to comment
Share on other sites

23 minutes ago, TheUlyssesian said:
  • I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note.

 

Careful now! Observations of this kind aren't taken lightly here! :D

Link to comment
Share on other sites

16 minutes ago, TheUlyssesian said:

I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note.

 

Weird, but rather this than a straight lift from Adventures of Mutt... 

 

18 minutes ago, TheUlyssesian said:
  • B part of Indy's theme is also used.

 

YES ! 

Link to comment
Share on other sites

18 minutes ago, TheUlyssesian said:
  • Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. 
  • There are several villainous themes as I noted above, they are good.

 

This sounds promising though!

Link to comment
Share on other sites

38 minutes ago, TheUlyssesian said:

If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone.

 

A lot to unpack here, thanks for reporting back!

 

Can you describe the general vibe of the score? A continuation of the Star Wars sequels or something more akin to Indy 1-3? How was the music performance generally, did the Raiders March sound good? I never loved how that sounded in KOCS.

 

Without spoilers, were there some cool aggressive/classic-style Indy action cues akin to Belly of the Steel Beast/Desert Chase? Or is it more lighthearted like Whirl Through Academe/Adventures of Mutt?

 

Are there some standout moments where the music takes center stage?

 

And I guess most important of all - did you like the score?

Link to comment
Share on other sites

25 minutes ago, TheUlyssesian said:

3. There is one of those famous map transition scenes where the music plays without almost any FX.

 

Very exciting! Hopefully not Flight From Peru for the third time :P

 

@TheUlyssesian Did you notice any cool source music that might have been JW?

 

Link to comment
Share on other sites

38 minutes ago, TheUlyssesian said:

 

1. I think the vibe seemed to me to be maybe Tintin-ish and maybe even Star Wars prequel-y, in the sense it is a very busy scoring style I think. The music often lurches and pirouettes to reflect the action on screen. The raiders march does sound good. It is played at length a couple of times in the film proper.

 

2. Maybe a mix depending upon the set piece. THe rickshaw set piece that you've seen in the trailers should have sounded more fun but sounds a bit serious like. I could definitely hear some Tintin in there I thought.

 

3. There is one of those famous map transition scenes where the music plays without almost any FX.

 

4. Hmm. It's a Williams score. So of course I like it. I want to listen to it on album. Frankly I am more interested to hear all the villain stuff again than Helena's stuff. I think the villain themes are good. 

How are the use of old cues and themes? Are they overused or is it a good balance?

Link to comment
Share on other sites

5 minutes ago, LB Makes Stuff said:

How are the use of old cues and themes? Are they overused or is it a good balance?

 

Maybe spoiler hide any old character themes that come back @TheUlyssesian, unless they're not spoilers (like a returning action motif or something random, like the Death Star motif in TLJ).

Link to comment
Share on other sites

27 minutes ago, crumbs said:

 

Very exciting! Hopefully not Flight From Peru for the third time :P

 

@TheUlyssesian Did you notice any cool source music that might have been JW?

 

 

Did notice any source music.

 

4 minutes ago, LB Makes Stuff said:

How are the use of old cues and themes? Are they overused or is it a good balance?

 

As I noted I think most of the score is new. Indy theme is played of course multiple times.

Link to comment
Share on other sites

Just now, TheUlyssesian said:

 

Did notice any source music.

 

 

As I noted I think most of the score is new. Indy theme is played of course multiple times.

Fantastic to hear, glad the one you covered is in there.

Link to comment
Share on other sites

44 minutes ago, TheUlyssesian said:

One old returns for sure -

 

 

Does it return merely for effect or is there something behind its appearances?

Link to comment
Share on other sites

2 hours ago, TheUlyssesian said:

Okay quick thoughts since I know you guys are waiting

 

  • End credits order is Indy fanfare for the main credits (that appear one at a time) Maybe 2-2.5 mins
  • Helena's theme begins when the scrolling portion starts. Full suite played.
  • Following that - seemed to be like another suite, going through as many as 4-5 themes. Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. This is where the credits end, the Indy fanfare is not reprised after the villain suite. (This could be a film cue too).

Some other thoughts 

 

  • Honest to god, score is mixed well. None of should be able to complain. I could hear it throughout, but was I paying attention to it all the time? That's a different question. Guys, I am at Cannes and let me tell you this is a very tough place to watch movies. You are always exhausted and can't always focus. 
  • Helena's theme in the score proper is frankly okay. It kinda even sounds different than the suite.
  • There are several villainous themes as I noted above, they are good.
  • I couldn't detect a direct Dial theme - it has some motifs for sure but I dunno if I might call it a direct theme. But then again, my mind is half shot at this point.
  • I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note.
  • B part of Indy's theme is also used.

 

If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone.

 

Edit: orchestration and conducting is credited to Williams and Ross.

 

I'd like this post twice if I could. Great way to start Friday with some actual score insight. Thanks a lot for sharing your thoughts.

Link to comment
Share on other sites

6 minutes ago, Score said:

@TheUlyssesian Did they use (or quote) "Sympathy for the Devil" anywhere in the movie score? Or was it used just for the trailer?

 

I bet it is used for real in the movie, as it is set in 1969, and the song is from 1968.... So it fits.

Link to comment
Share on other sites

A nomination is almost certain, but I think he’ll be snubbed yet again, not that it matters anymore after all the dozens of times Williams was snubbed. 

Link to comment
Share on other sites

I've pointed this out before but the last two times he was snubbed for the entire year -- out of like six times ever since the late 60s -- were Crystal Skull and BFG, both expensive and tepidly received summer movies (and Cannes premieres! lol). Even JW isn't always immune to baggage and Oscar voters' memories are very short-term, anyway, so this feels like a potential nomination snub. But he could get more sentimental votes than for those two movies. 

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.