Author Archives: Film Music Central

About Film Music Central

I'm a 30 year old musicologist and blogger and I've had a lifelong obsession with film music, cartoon music, just about any kind of music!

Soundtrack News: Ghost of Tsushima Original Soundtrack Available July 17

Milan Records has announced that the original video game soundtrack for Ghost of Tsushima will be available on July 17th, 2020 and can be pre-ordered now. The album features music written by both Ilan Eshkeri and Shigeru Umebayashi for the latest action-adventure game from Sony Interactive Entertainment.  Included in the album are tracks written by Eshkeri that serve as the sonic companion to the game’s narrative, as well as music written by Umebayashi for the exploratory, open world dimension of the game.

Of the soundtrack, composer Ilan Eshkeri says:

“Ghost of Tsushima is such a beautiful game set in a culture that has always fascinated me, with a powerful and compelling story. Everything about it touched me creatively and I learned so much on the journey. The score brings together Japanese music and instruments, with sounds I’ve performed and a symphony orchestra all led by melody. I hope together it creates an emotional world that touches you and draws you into the heart and spirit of Ghost.”

“When I was composing for Ghost of Tsushima, I was inspired by Japan’s nature, climate, traditional lifestyle and classical Japanese music. When players hear the music, I hope that they feel the hearts of the people of Tsushima – those who love the land, living and plowing with the natural bounties it offers, and those of the warriors who take their katanas and follow the way of the samurai,” adds composer Shigeru Umebayashi.

GHOST OF TSUSHIMA (MUSIC FROM THE VIDEO GAME)

TRACKLISTING –

1.       The Way of the Ghost*

2.       Jin Sakai*

3.       Komoda Beach*

4.       The Way of the Samurai*

5.       Lord Shimura*

6.       No Mercy*

7.       Lady Masako*

8.       A Reckoning in Blood*

9.       The Last of Clan Adachi*

10.    Heart of the Jito*

11.    The Tale of Sensei Ishikawa*

12.    Forgotten Song*

13.    Khotun Khan*

14.    Honour to Ash*

15.    The Fate of Tsushima*

16.    Sacrifice of Tradition*

17.    The Way of the Ghost feat. Clare Uchima*

18.    Tsushima Suite: I. Seion**

19.    Tsushima Suite: II. Shurai**

20.    Tsushima Suite III. Bushido**

21.    Tsushima Suite IV: Kodoku**

22.    Tsushima Suite: V. Seiiki**

In the late 13th century, the Mongol empire has laid waste to entire nations along their campaign to conquer the East. Tsushima Island is all that stands between mainland Japan and a massive Mongol invasion fleet led by the ruthless and cunning general, Khotun Khan. As the island burns in the wake of the first wave of the Mongol assault, samurai warrior Jin Sakai stands as one of the last surviving members of his clan. He is resolved to do whatever it takes, at any cost, to protect his people and reclaim his home. He must set aside the traditions that have shaped him as a warrior to forge a new path, the path of the Ghost, and wage an unconventional war for the freedom of Tsushima.

The soundtrack for Ghost of Tsushima is available for preorder now.

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My Thoughts on: Wonder Woman (2017)

It only took three years but I have finally seen Wonder Woman (in my defense, I was neck-deep in my dissertation at the time the movie came out, so I wasn’t exactly in the mood to go to the movies at the time). And the first thought that came to mind is: this is AMAZING!! You see, part of the reason I avoided this film for so long is I have an instinctive dislike of origin films. Even with a character as iconic as Wonder Woman, I have this thing where I don’t like seeing how the character gets started because they have the bad habit of being awkward (I suffer heavily from second-hand embarrassment). Imagine my delight then, when I sat down to watch Wonder Woman and found…practically no awkwardness at all! We do in fact get plenty of Diana’s early years on Themyscira, but it’s all layered in so much badass action that there’s no chance for early awkwardness to develop.

The bulk of the story is set in the closing days of World War I (1918), and sees Diana leave Themyscira with Steve Trevor to confront and kill Ares (which she believes will end the war on the spot). The story goes from London, to the trenches on the Western Front, to deep behind enemy lines. Patty Jenkins does not hold back from showing you the horrors of the “the war to end all wars” and it only serves to drive Diana even more to fulfill her self-proclaimed quest to kill Ares. Diana’s naïveté regarding Ares is almost painful to watch at times (because you know it can’t be THAT easy), but it’s also endearing because it highlights how sincere the princess of the Amazons is with her intentions.

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And speaking of Ares…it’s brilliant how the god of war’s presence is teased throughout the film. For most of the story in fact, it seems patently obvious who the god of war is masquerading as (in hindsight it’s too obvious). In fact, it’s so obvious it makes the actual reveal of Ares’ identity all the more shocking (I did NOT see that coming). Jenkins does a phenomenal job of weaving into the story how Ares has been present all this time and yet is NOT (directly) responsible for all the wars and death that have been going on. Furthermore, his final confrontation with Diana is amazing to watch, it’s everything you could ever want in a clash between a god and an Amazon.

I was also blown away by the revelation of what Diana really is (something teased throughout the film). I’m a little disappointed the story didn’t go with the traditional “made from clay and brought to life” story, but really this works too.

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Steve Trevor is also the perfect complement to Diana by the way. It’s funny how at first he tries to fulfill the stereotypical “alpha male protecting the weak female” role only to very quickly realize Diana does not need ANY help in that regard. And once he realizes it, he just goes with it, which is awesome to see. I love stories that turn the male/female dynamic on its head like this film does.

As far as superhero origin films goes, Wonder Woman is one of the best films I’ve ever seen. I do regret not seeing it sooner, but I’m glad I finally got around to watching it before Wonder Woman 1984 comes out (whenever that happens to be).

There’s so much more I want to say about how amazing Wonder Woman is, but I think this gets the basic point across: Wonder Woman is one of the best films I’ve ever seen, it gives Diana an awesome origin story, and lays the foundation for many stories to come (hopefully).

Let me know what you think about Wonder Woman in the comments below and have a great day!

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My Thoughts on: The Wicker Man (1973)

I’m honestly not sure when The Wicker Man first came to my attention, but the idea of seeing it has been in my head for awhile. While my general aversion to the horror genre is hardly a secret, I heard so many times about how this was one of those films you must see before you die that I finally decided, once I found a copy, that I would sit down and watch it, for better or worse. It also didn’t hurt that Christopher Lee is in this film also (I’ll watch just about anything that has him in it).

If you haven’t seen the original The Wicker Man, the story follows Police Sergeant Neil Howie (Edward Woodward) as he travels to the (fictional) Scottish island of Summerisle to investigate a complaint about a missing child, Rowan Morrison, that’s been sent to him via an anonymous letter. A simple investigation quickly goes sideways when everyone Howie meets protests that Rowan either a) does not exist or b) died six months earlier. Not only that, but the devoutly Christian Howie is horrified to discover the entire island follows a pagan religion with Lord Summerisle (Christopher Lee) happily ruling at the top of it all.

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Right away I could feel major Midsommar-vibes coming off this story and indeed they are similar in broad strokes. You have an outsider encountering a pagan culture they do not understand, there’s pagan symbolism everywhere, and oh yes, there’s human sacrifice at the end. I investigated and found out that both Midsommar and The Wicker Man (the original version anyway) both belong to a sub-genre of horror known as folk horror. This sub-genre contains stories that focus on the “old religion” and ritualistic practices. Given I’ve watched and enjoyed two films from the folk horror genre, it might be I’ve finally found a niche of horror that is for me after all. But I digress, back to The Wicker Man

I find it very interesting how Howie is presented to the audience. Given how prevalent Christianity is all over the world, you might think that at least some of the sympathy would be with Howie as he goes about his investigation on Summerisle. But Howie, as Woodward plays him, is so uptight, and so self-righteous, that he quickly becomes unlikable. He has no tolerance for anything that deviates from the norm, and there’s a lot of things on Summerisle that you don’t normally see. Now, to be fair, the police sergeant does make something of a good point at the end of the film when he points out that sacrificing him is tantamount to murder, but it also reveals how little Howie understands life on the island. Except for that little part about human sacrifice, the villagers on Summerisle aren’t hurting anybody by following the old religion, but Howie can’t stand for it regardless.

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The pivotal moment with the titular “wicker man” was just as amazing as I’d been led to believe. I found out that Edward Woodward insisted on not seeing it until the moment of filming, which makes his scream of “Oh God, oh Jesus Christ!” upon seeing it so utterly believable. Also, I will never look at the song “Sumer is icumen in” in the same way ever again.

One thing I keep turning over and over in my head is the sacrifice at the end of the film and what it’s intended to do. You see, the old religion was established on Summerisle over a hundred years ago to help with the growth of the apple orchards on the island. But the previous year was the first year the harvest failed, hence the sacrifice at the end of the film, the idea being that a human sacrifice will appease the gods and allow the apples to grow again next year. Howie maintains that the apples are going to fail anyway because fruit isn’t meant to grow in this region. And yet…I can’t help but wonder….what if the sacrifice works? Or at least appears to work. Even though the results of the sacrifice are never revealed, I have a feeling Lord Summerisle has nothing to worry about even though Howie implied that he himself would be the next sacrifice should the crops fail again. If that was the first time the fruit didn’t grow in over 100 years, it seems unlikely that they would permanently die off just like that. Even if they are slowly dying, it doesn’t happen that quickly, so it’s more likely the fruit will continue for a while longer. I just hate how certain Howie seems that the fruit trees are never going to bear fruit again. I guess I can’t help but wonder “what if Howie’s wrong and all of this works anyway?”

What I’m trying to say in all of this is that The Wicker Man is an amazing film and one that everyone should definitely see at least once. Christopher Lee steals every scene he’s in. I also really loved all of the songs in this film, if I’d known how musical The Wicker Man is I would’ve watched it years ago.

Let me know what you think about The Wicker Man in the comments below and have a great day!

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Soundtrack News: ‘Driveways’ Original Motion Picture Soundtrack Available Now

The original motion picture soundtrack for Driveways, with music by Jay Wadley, is available now from Milan Records. Nominated for two Independent Spirit Awards, Driveways is out now and available to watch on demand. Director Andrew Ahn’s Driveways tells the story of Kathy (Golden Globe® Nominee Hong Chau), a single mother, who travels with her shy eight-year-old son Cody (newcomer Lucas Jaye) to Kathy’s late sister’s house which they plan to clean and sell. As Kathy realizes how little she knew about her sister, Cody develops an unlikely friendship with Del (Golden Globe®, Tony® winner and acting legend Brian Dennehy), the Korean War vet and widower who lives next door. Over the course of a summer, and with Del’s encouragement, Cody develops the courage to come out of his shell and, along with his mother, finds a new place to call home.

Jay Wadley is a NY based composer and music producer. Upcoming releases include; Charlie Kaufman’s I’m Thinking of Ending Things, The Innocence Files directed by Roger Ross Williams (Life Animated, Apollo), Independent Spirit Award-nominated Driveways directed by Andrew Ahn (Spa Night), and the Sundance NEXT Audience and Innovation award-winning narrative debut, I Carry You with Me (Sony), written and directed by Heidi Ewing (Jesus Camp, Detropia).

Of the soundtrack, composer Jay Wadley says:

“In my score for Andrew Ahn’s Driveways, I took an understated, paired down approach with textured analog production on a felted grand piano and chamber string ensemble.  The film is a delicate and subtle piece, so Andrew and I felt the score needed to take extra care not to step on or get in the way of story and character.  As I began the creative process, my way into Cody and Del’s sound was through an attempt to capture the mood of childhood experiences like tooling around in the yard and on the porch during long, lazy, hot summer afternoons. I find a certain dreaminess, comfort, and melancholy to those days that informed the music’s overall tone and character. To echo the simple yet profound nature of Del and Cody’s friendship, I used equally simple recurring melodic and harmonic material that often plays as intimate duets between strings and piano. These melodies thoughtfully blossom and mature throughout the film, deepening their associations, and help us connect to relationships that have shaped us and remind us of the beauty and tragedy of their impermanence.”

Driveways director Andrew Ahn adds:

“Jay’s score for Driveways is so human, full of character and soul. I loved working with Jay because, like an actor, he took the film on emotionally, letting the story and characters become a part of him. There’s a beautiful nostalgic quality to the score that feels so personal and intimate. For this reason, the score never hits a false note; it feels truthful and genuine in such an emotional way.”

DRIVEWAYS (ORIGINAL MOTION PICTURE SOUNDTRACK)

TRACKLISITNG –

  1. On the Road
  2. Del
  3. Inside the House
  4. Cleaning Up
  5. Mouse Pad
  6. Can I Borrow a Shovel?
  7. Pretty Good
  8. Get Up
  9. Okay Bye!
  10. Shopping
  11. Thanatopsis
  12. Kathy Goes Out
  13. Invitation
  14. Rogers Team
  15. Wait List
  16. Hardwood Floors
  17. Move, Move
  18. Moving to Seattle
  19. This One
  20. Everything is Different

If you’d like to check out the soundtrack for Driveways, it is currently available.

See also:

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Soundtrack News: ‘Barkskins’ Original Series Soundtrack Available June 5th

Milan Records is pleased to announce that the National Geographic Original Series Soundtrack for Barkskins will be available on June 5, 2020. Barkskins examines the mysterious massacre of settlers in the vast and unforgiving wilds of 1690s New France that threatens to throw the region into all-out war. The series tells a thrilling story of exploration, adventure and ambition among dreamers and fighters — some with a utopian vision of the world, others crass and conniving, but all navigating the perils of a treacherous new frontier. As tensions escalate, unlikely alliances are forged, old antagonisms deepen and new families are formed against the seemingly endless natural riches and hidden dangers of the new American continent.

 

The soundtrack for Barkskins was composed by Colin Stetson, who is a highly-coveted collaborator to Bon Iver, Arcade Fire, Tom Waits, LCD Soundsystem, The National and more. More recently, Stetson has focused on scoring a number of original soundtracks, including Color Out of Space (2019), Lavender (2016), which he co-scored with Sarah Neufeld, A24 production Hereditary (2018) and Hulu series The First (2018). He also contributed to the score for award-winning game Red Dead Redemption II (2018) and is set to score the new Adult Swim anime miniseries Uzumaki, an adaptation of Junji Ito’s renowned horror manga, which arrives in 2020.

Of the soundtrack, composer Colin Stetson says:

“The ‘sound of the forest’ was what I was first tasked with in generating the overall aesthetic and character of the score for Barkskins. Taken both literally and metaphorically, I based much of the sonic backbone on two pillars: Of an essence and feeling of wild and heavily wooded places, I combined the sounds of low bowed strings and my own voice, in unison and extreme glissando, to create an undulating melodic bed, deeply creaking and airy, as trees swaying in the wind. And literally, the actual sounds of the forest, those of red squirrels, finches, ravens, and I think a sea lion (whoops) all twisted and modified into a supporting sonic landscape within which to compose.”

BARKSKINS (NATIONAL GEOGRAPHIC ORIGINAL SERIES SOUNDTRACK)
TRACKLISTING –
1. Forest Fire
2. Company Man
3. The Tree
4. Renardette
5. True Warrior
6. English Scum
7. Lie Down
8. The Company Way
9. Marth Burns
10. Father Clape
11. A Proposal
12. Aftermath
13. With Death Upon You
14. First And Last Meals
15. The Letter
16. Retrieving The Dead
17. Punishment
18. Alive
19. Awake You Sleepy Hearts (feat. David Thewlis)

The official soundtrack for Barkskins will be available on June 5, 2020.

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My Thoughts on: Tarzan and the Amazons (1945)

My ongoing journey through the classic Tarzan films took me to Tarzan and the Amazons, released in 1945. The plot, like Tarzan Triumphs before it, focuses yet again on a lost city, this time a city of ‘Amazons’ who live in total seclusion from the outside world. Tarzan’s son boy discovers where the hidden city is located after following Tarzan when he returns an injured warrior, a situation that becomes problematic when an expedition learns of the fabulously wealthy lost city’s existence.

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It’s almost funny to me how many lost cities there are in these Tarzan films. First there was Palandrya in Tarzan Triumphs, now we have a lost city of female warriors that looks like something straight out of ancient Greece. In fact, with their headbands and weapons, the ‘Amazons’ in this story reminded me quite strongly of Wonder Woman and the Amazons of Themiscyra. Still, the lost city is quite beautiful, even if it is completely out of place in the middle of Africa.

I should also mention this is the first film to feature Brenda Joyce as Jane. When she first appears (in regular clothes), it’s a little hard to accept that she’s Jane. But once she changes into her regular jungle attire, it actually becomes fairly believable. It’s still not the same as having Maureen O’Sullivan in the role, but Brenda Joyce does a pretty good job.

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The bulk of the plot, unfortunately, is pretty formulaic. In regular fashion, the greedy members of an expedition (excluding the honorable leader) find out about a lost city that’s full of treasure, decide to loot it, Boy becomes an unwitting (and later unwilling) accomplice, and Tarzan has to rush in at the last minute to save the day. Even worse, most of what happens is Tarzan’s fault if you think about it. Instead of plainly telling Boy that Palmyria (the city of the Amazons) has to stay a secret because of its fantastic wealth, Tarzan talks in riddles and simply tells Boy that it must be a secret without telling him why. If Tarzan had just been honest with his son then a lot of this might have been avoided. Most disappointing of all, the bad guys in the expedition are punished far too quickly. There’s barely a chase, and while their fate is gruesome, it’s over in less than a minute.

Despite these issues, Tarzan and the Amazons is enjoyable, if not completely original. You’ll like it if you’ve gotten this far into the Tarzan series of films, but it might not be the best place to start if you’ve never seen a Tarzan film before.

Let me know what you think about Tarzan and the Amazons in the comments below and have a great day!

See also:

My Thoughts on: Tarzan the Ape Man (1932)

My Thoughts on: Tarzan and His Mate (1934)

My Thoughts on: Tarzan Escapes (1936)

My Thoughts on: Tarzan Triumphs (1943)

Film Reviews

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Soundtrack Review: Spaceship Earth (2020)

The soundtrack for the recently released documentary Spaceship Earth is now available from Milan Records. Spaceship Earth is the true, stranger-than-fiction, adventure of eight visionaries who in 1991 spent two years quarantined inside of a self-engineered replica of Earth’s ecosystem called BIOSPHERE 2. The experiment was a worldwide phenomenon, chronicling daily existence in the face of life threatening ecological disaster and a growing criticism that it was nothing more than a cult. The bizarre story is both a cautionary tale and a hopeful lesson of how a small group of dreamers can potentially reimagine a new world.

Album Artwork - Owen Pallett

The soundtrack for Spaceship Earth was composed by Owen Pallett, who is a composer, violinist, keyboardist, and vocalist. They have released a string of critically praised solo recordings, winning the Polaris Prize in 2006. They currently release albums with Secret City Records and Domino Recording Co., and have performed as a solo performer with orchestras worldwide. Their chamber music work has been commissioned by The National Ballet of Canada, The Toronto Symphony Orchestra, Bang On A Can, The Barbican, among many others. They also served as curator of the TSO’s New Creations Festival in 2017.

Of the soundtrack, composer Owen Pallett says:

This is my second collaboration with Matt Wolf, after 2019’s Recorder: The Marion Stokes Project.  The film Spaceship Earth chronologically spans from 1960 to present day— it is serious, it is comedic, it is retro, it is futuristic, it is scientific and it is highly human.  It is also distinctly American.  As a result, I was inspired by 60s sci-fi film scores, Nino Rota, as well as American 20th century music— John Adams and Aaron Copland.

All of those influences are evident in Pallett’s score for Spaceship Earth, which is among the most beautiful I’ve heard this year. The music for this documentary runs a huge gamut from nearly symphonic to an American style that is, as the composer indicated, clearly inspired by the music of Aaron Copland (“Synergia Ranch” in particular). I may have listened to a few of the pieces out of order, but I was instantly struck by a four-part piece organized under the title “Biosphere 2.” Played back to back, these four pieces reminded me of a symphony, with themes weaving together and coming back at the end of the piece. It’s not often I hear a symphonic piece of music while listening to a soundtrack, but that is indeed what the four parts of “Biosphere 2” reminded me of.

And it only got better from there. Most of the soundtrack is delightfully musical, with a sense of “sci-fi” lurking around every corner. If you didn’t know what this documentary was about, you could be forgiven for thinking it was about literal space travel. It would be interesting to know, specifically, which sci-fi film scores influenced Pallett, as their influence can clearly be felt.

But there was also a touch of weirdness (in a good way) as well. As I mentioned earlier, “Synergia Ranch” was clearly inspired by the music of Aaron Copland (it put me in mind of “Hoedown” in case you were wondering) and it definitely stands out from the music around it.

In conclusion, the soundtrack for Spaceship Earth is beautifully done, and I applaud Owen Pallett for creating such beautiful music to accompany the documentary. Let me know what you think about Spaceship Earth (and the soundtrack) in the comments below and have a great day!

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

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Soundtrack Review: A Brief History of Time Travel (2018)

Just recently I had the unexpected pleasure of looking over the soundtrack for the documentary A Brief History of Time Travel. As the title suggests, this documentary is all about a subject that has fascinated scientists (and regular people for years: time travel. The synopsis is as follows:

Time travel reaches far beyond the realm of science fiction. From early stories featuring heroes mysteriously falling into far-flung future worlds to countless appearances in literature, science fiction and video games, the idea of traveling through time has spanned cultures across the globe.

Through interviews with experts across a variety of fields – theoretical physicists, game designers, spiritual leaders to futurist authors, “A Brief History of Time Travel” explores how this idea has inspired some of the prominent intellectual minds of today, and how it has influenced their work.

The soundtrack for A Brief History of Time Travel was composed by Tracie Turnbull, an LA-based composer. Apart from her work on this documentary, Tracie also works as a scoring and tech assistant for Emmy award winning composer Jeff Russo. She has written additional music on projects including: CBS’s Star Trek: Discovery, Sci-fi’s Channel Zero, FX’s Snowfall, Netflix’s The Umbrella Academy and the film, Mile 22.

The music for A Brief History of Time Travel was a lot of fun to listen to. Considering Tracie Turnbull is also a cellist, it’s not a surprise that the soundtrack features a healthy amount of that instrument. Indeed, a large portion of the soundtrack appears to be devoted primarily to the strings to create the warm, but quirky sounds that make up most of the score. Perhaps I was overly influenced by the title of the documentary, but it seemed to me that a lot of the music I heard reflected the passing of time. For example, I could’ve sworn I heard the ticking of clocks in several pieces. The idea occurred to me because Andrew Prahlow did something similar in his score for Outer Wilds. For that matter, speaking of the passage of time, the way most of these pieces “flowed” felt so appropriate given that they’re covering a documentary about time travel, in that time is often described as “flowing” from the past to the future.

As with most documentary scores that I’ve heard, the music for A Brief History of Time Travel is very easy to listen to; it’s gentle, it’s warm, and it draws no more attention to itself than necessary. By no means is that a bad thing, by their nature documentary scores aren’t generally supposed to stand out because that would make them a distraction to what the documentary is talking about. I think Tracie Turnbull’s score complements the topic of the documentary beautifully, allowing the imagination to run wild about the possibilities of time travel.

Track List:

1 Time Travel
2 Time Passing
3 Clock Slowed
4 Three Theories
5 Beyond Space
6 Back And Forward
7 Perspective Of A Computer
8 Space And Looking Back
9 Freeze People
10 Imagine Time Travel
11 Happens In The Future
12 Constraints Of Nature
13 If You Could Travel
14 History Of The Universe

The score for A Brief History of Time Travel can be purchased/downloaded from the following places:

Notefornote Website: https://bit.ly/36bS4DF

Let me know what you think about A Brief History of Time Travel (and the score) in the comments below and have a great day!

See also:

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

 

My Thoughts on: Tarzan Triumphs (1943)

After a long stretch, I decided to resume my watch of all the classic Tarzan films, deciding to go on with Tarzan Triumphs, made in 1943 and a most interesting entry because the plot sees Tarzan fighting against Nazis. In hindsight it actually isn’t that surprising that a story was written to pit Tarzan against the Third Reich. After all, in 1943 World War II was in full swing and many stories of this type were being told. Still, it is a little jarring to see Tarzan existing in the same world with Nazis, since I’ve always associated the character with the late 19th century (or at the very least the turn of the 20th century). The plot sees Tarzan (eventually) go to war against a contingent of Nazis who have taken over the hidden city of Palandrya in an effort to steal its riches to support the war effort.

That being said, as jarring as it is at first, this might be one of my favorite Tarzan films yet. Considering that Nazis are involved in the plot, you know from the start that it’s only a matter of time before Tarzan and the Germans come to blows, and once that starts, it goes just about the way you think it will. But I’m getting ahead of myself, there’s a few details to talk about first.

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Since this is the first Tarzan film made for RKO Studios, Tarzan Triumphs is also the first film in the series to be made without Maureen O’Sullivan in the role of Jane. While the film does explain Jane’s absence by explaining that she’s tending to her mother in England, O’Sullivan’s absence in the story does leave a noticeable hole in, well, everything, one that isn’t quite filled by Frances Gifford in her role as Zandra. That isn’t the only difference between the RKO films and the original MGM films either. The iconic Tarzan yell is absent too (oh, he makes one, but it’s not the one everyone knows). Also, the entire set up of the hidden city of Palandrya is a bit much to take (it’s a hidden city of white people in the middle of the African jungle).

If you can overlook these issues, however, then you will like Tarzan Triumphs, particularly once Tarzan decides to get involved in fighting against the Nazis. Frustratingly, it takes Tarzan most of the film (and the kidnapping of Boy) to decide that the Nazis are a problem. I should mention that the Nazi characters are all easy-to-hate characters (though one is a near unending source of comic relief), which makes sense given it was wartime when this was made. It’s great fun to see Tarzan take the enemy down, especially when he takes special care to hunt down the head Nazi, chasing him into the jungle to give him the coup de grace.

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While the story does suffer from the absence of Jane, Tarzan Triumphs is an enjoyable story once all is said and done. I particularly enjoy watching the Nazi characters fumble about in the jungle (two fall prey to “cannibal fish”) before finally receiving their comeuppance. Tarzan’s initial stubbornness is also incredibly frustrating but if you stick with the film it pays off in the end. And for what it’s worth, I do like watching Zandra interact with Tarzan and Boy (even if it isn’t quite the same as having Jane in the story).

Let me know what you think about Tarzan Triumphs in the comments below and have a great day!

See also:

My Thoughts on: Tarzan the Ape Man (1932)

My Thoughts on: Tarzan and His Mate (1934)

My Thoughts on: Tarzan Escapes (1936)

My Thoughts on: Tarzan and the Amazons (1945)

Film Reviews

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Soundtrack Review: Betty (2020)

The soundtrack for the HBO Original Series Betty is now available from Milan Records. Starring Dede Lovelace, Moonbear, Nina Moran, Ajani Russell, and Rachelle Vinberg, Betty follows a diverse group of young women navigating their lives through the predominantly male-oriented world of skateboarding, set against the backdrop of New York City.  

The soundtrack for Betty was composed by Aska Matsumiya, who is a LA based Japanese composer and producer who has excelled across Film, Television, Advertising and music production. Aska provided the score for the Amazon feature film, “I’m Your Woman” for director Julia Hart. In addition, she partnered with A24 and acclaimed director Kogonada on his film “After Yang”, collaborating with composer Ryuichi Sakamoto starring Colin Farrell.  

Of the soundtrack, composer Aska Matsumiya says:

“Writing the music for Betty allowed me to be in touch with a side of myself that remains youthful and raw and spontaneous. It was really so much fun and I tried to let that momentum carry the music.”

Wow, Matsumiya wasn’t kidding when she talked about getting in touch with her youthful, raw, and spontaneous side. The soundtrack for Betty is ALL of these things wrapped up together and it is pure joy to listen to. The melody is bouncing, alive, and just seems to dart from place to place. I don’t know why this surprised me, considering Betty is set in the world of skateboarding, this type of music is the perfect way to express that world where gravity is defied on a regular basis. I think my favorite track is “Betty”, the title track is bright, bouncy, and beautiful, like most of the soundtrack in fact.

TRACKLISTING –

  1. Betty
  2. Vibez
  3. Space Ride
  4. Why Not Bambi
  5. Anxiety Attack
  6. Chinatown Quest
  7. Strawberry Field
  8. The Sound
  9. Feeling Blues Cloud
  10. No Jordan
  11. No Chill
  12. Hypnotism – Bebel Matsumiya
  13. AMNSA – Rosehardt
  14. Strangers – Ruby Haunt
  15. One of the Girls – Otha
  16. Apocalypse – Cigarettes After Sex
  17. Djougou Toro – Volta Jazz

In all seriousness, the music for Betty is delightful, and I highly recommend checking the soundtrack out if you get the chance.

Let me know what you think about Betty (and its music) in the comments below and have a great day!

See also:

TV Soundtracks

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