Posted by: Simon J <Send E-Mail> Date: Tuesday, January 21, 2014, at 1:19 p.m. IP Address: host86-128-68-175.range86-128.btcentralplus.com
Interesting the writer hated the "building [of a tone] up to a frenzy then cutting it off instantly", calling the technique 'unacceptable'. In the film, I felt it was one of the more memorable and effective aspects of the soundtrack. It evoked the desolate loneliness of space when the main title reached maximum volume before cutting to the first image of Earth and hitting silence instantly. Later, I also loved the way falling from 'maximum' to 'nothing' evoked 'danger' to 'safety' as Sandra Bullock's character was running out of air, then closed herself into the safety of the craft as the scene cut the same instant as the underscore. It was also cool the way during this 'frenzy' motif the increase in volume was always matched by an increase in *pitch*, evocative of an aircraft taking off, reminding me of my own slight fear of flying and emphasising the theme of technology...and our fear of it's failure.
Of course I love developed motifs and complex harmonies in scores. But this is first and foremost a survival thriller: what's wrong with the odd effective musical idea that serves no purpose other than to generate suspense and unnerve the audience? If it's a lazy cliche, can the writer identify many other films where this technique is used quite so effectively?
Great site by the way: the *only* film soundtracks reviews of this calibre anywhere on the web.