> One thing is for certain: it's nearly impossible for Portman to
> completely lose the charm of her compositions when she's given a full
> orchestral ensemble. There is an intangible optimism that prevails in all
> of her orchestral works, perhaps due to her choice of chord progression.
> In Hart's War, there is never a despairing moment. Even when brazen action
> and killing is taking place on screen, there is a kind sensitivity that
> continues in each cue.
> I can't seem to see where you're coming from there, but to each his own.
not all war scores have to promote the heavy pounding of the drums as people are being blown to bits. music like in harts war gives you a sensitivity when a person that the character just met is cut down by allied fire. i think that softer cues open emotions a lot more than the heavy pounding. plus this movie has close to no major battle sequences other than the beginning, in which he is running from the nazis before his capture and the plane chase sequence in the middle. so why the need for intensity?