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Comments about the soundtrack for Dunkirk (Hans Zimmer/Various)
Filmtracks shows no respect for innovation

Harold Vaughan
(cablelink-187-161-93-26.pcs.inter
cable.net)


  Responses to this Comment:
Nyze Aziz
Wilczak
Jimmy Mac
Endere Massoviata
Filmtracks shows no respect for innovation   Thursday, December 21, 2017 (7:13 p.m.) 

Dunkirk immerses you in the horror of an event. It doesn't want you to have some upbeat heroic emotional connection. The reviewer completely misses that point. Maybe he is too busy looking at pictures of penises in his forums.


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Nyze Aziz
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  In Response to:
Harold Vaughan
Re: Filmtracks shows no respect for innovation   Thursday, December 21, 2017 (8:57 p.m.) 

> Dunkirk immerses you in the horror of an event. It doesn't want you to
> have some upbeat heroic emotional connection. The reviewer completely
> misses that point. Maybe he is too busy looking at pictures of penises in
> his forums.

No need go to Scoreboard, you can see my pee pee here! hai hai hai!!

DUNKIRK score will win Oscar. So awful the Hans music, it cannot be unheard!


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Wilczak
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  In Response to:
Harold Vaughan
Re: Filmtracks shows no respect for innovation   Saturday, December 23, 2017 (2:13 a.m.) 

> Dunkirk immerses you in the horror of an event. It doesn't want you to
> have some upbeat heroic emotional connection. The reviewer completely
> misses that point. Maybe he is too busy looking at pictures of penises in
> his forums.

Was never immersed. The synthetic elements that Zimmer still leans too heavily on for lack of real innovation prevented that. "It doesn't want you to have some upbeat heroic emotional connection", yet it uses Nimrod for that exact purpose... amateurishly. The setting is World War II, not contemporary.

"Zimmer visited the Dunkirk set for inspiration and chose not to view raw footage of the film whilst composing the score." Yeah, that's obnoxious absurdity.


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Jimmy Mac
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  In Response to:
Harold Vaughan
Re: Filmtracks shows no respect for innovation   Thursday, December 28, 2017 (4:23 a.m.) 

> Dunkirk immerses you in the horror of an event. It doesn't want you to
> have some upbeat heroic emotional connection. The reviewer completely
> misses that point. Maybe he is too busy looking at pictures of penises in
> his forums.

I did like aspects of the Dunkirk score - some scenes worked very well... but I think you missed the reviewers point yourself. I don't really see this is an "innovative" score. It's the same treatment Zimmer has applied to most of his scores in recent years. It was his usual ambient droning/pulsing score that is currently very fashionable but there is little innovation in applying that to a WW2 setting imho. You don't have to make the score heroic either - the reviewer stated himself how someone like Goldenthal was doing far superior stuff that served a similar purpose 20 years ago.


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Endere Massoviata
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  In Response to:
Harold Vaughan
Re: Filmtracks shows no respect for innovation [EDITED TWICE]   Friday, February 16, 2018 (5:46 a.m.) 

> Dunkirk immerses you in the horror of an event. It doesn't want you to
> have some upbeat heroic emotional connection. The reviewer completely
> misses that point. Maybe he is too busy looking at pictures of penises in
> his forums.

You have got to be kidding. Dunkirk is one of the most maligned scores (by people who actually know something about film music) in cinema history.

Zimmer followed the example of Elfman throughout his film music debacle; starting out with Rock and eventually ending up in this century with an embarrassingly rudimentary style that draws heavily upon Elfman's Batman scores without having the musical education to produce anything of similar worth.

I really liked his Man of Steel, regardless, and felt that was really the only time the abovementioned 21st century writing of Zimmer worked. Everything else has been so much under the influence of the dozens of ghostwriters, arrangers, and orchestrators as to have practically anything to do with Zimmer's four chord (max) vocabulary.

BTW, the inclusion of Zimmer at the expense of truly trailblazing masters like Rozsa, Herrmann, and Alfred Newman really makes this site look less good than it overall is.

This is a fine site, but needs to show it's backround in the truly original film music of the old days before showcasing composers who can't lick the boots of the true masters (I include Williams and Goldsmith, Morricone, and Friedhofer among the above Gods of Film Music).


(Message edited on Friday, February 16, 2018, at 5:47 a.m. and Friday, February 16, 2018, at 5:50 a.m.)


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