{"id":7587,"date":"2014-02-07T16:49:58","date_gmt":"2014-02-07T21:49:58","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7587"},"modified":"2014-03-05T22:26:01","modified_gmt":"2014-03-06T03:26:01","slug":"cd-monuments-men-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7587","title":{"rendered":"CD: Monuments Men (2014)"},"content":{"rendered":"

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>M<\/a><\/p>\n

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\"\"<\/a>Rating: Very Good<\/p>\n

Label: Sony Classical \/ Released: February 4, 2014<\/p>\n

Tracks & Album Length: 25 tracks \/ (60:32)<\/p>\n

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Special Notes: n\/a<\/p>\n

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Composer: Alexandre Desplat<\/p>\n

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Review:<\/p>\n

Alexandre Desplat channels the spirit of classic Hollywood film scoring with this large-scale orchestral work featuring a buoyant melody for George Clooney\u2019s WII caper film, and some wonderful tense, churning suspense motifs (\u201cGhent Altarpiece) which frequently wind down into short bursts of lighthearted material.<\/p>\n

Desplat\u2019s inspiration feels like a marriage of Elmer Bernstein (especially The Great Escape<\/strong>), Ernest Gold, and maybe a little Bruce Broughton, but Desplat\u2019s innate gift for melody and theme variations with mercurial twists are very much a part of his own style.<\/p>\n

It is striking to hear a score virtually bereft of any electronic elements \u2013 there\u2019s a softly repeated chord in Stokes Talks\u201d which may well be a fusion of just brass and strings evoking an organ – and Desplat\u2019s instrumental palette emphasizes strings for the more furtive, churning passages, and woodwinds for lighter accents in skulking cues like \u201cJohn Wayne.\u201d<\/p>\n

In \u201cFinale,\u201d the score\u2019s main themes and motifs are assembled into a solid 9 min. narrative which is one of the score\u2019s most satisfying cues because Desplat was given room to develop and expand his material. The brevity of several cues \u2013 often quick theme statements \u2013 are slightly repetitive, but the score\u2019s quite memorable for evoking a specific style (\u201cFinale\u201d has some discordant brass reminiscent of a Universal monster score), and the delicate orchestrations which really gleam in this beautifully engineered recording.<\/p>\n

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\u00a9 2014 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0M<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ M . Rating: Very Good Label: Sony Classical \/ Released: February 4, 2014 Tracks & Album Length: 25 tracks \/ (60:32) . Special Notes: n\/a . Composer: Alexandre Desplat . . Review: Alexandre Desplat channels the spirit of classic Hollywood film scoring with this large-scale orchestral work featuring a buoyant […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[2574,20],"tags":[93,2506],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1Yn","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7587"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7587"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7587\/revisions"}],"predecessor-version":[{"id":7940,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7587\/revisions\/7940"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7587"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7587"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7587"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}