iTunes (U.S.)
eBay (U.S.)
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
     1. Fifty Shades Freed
    2. Phantom Thread
   3. The Shape of Water
  4. The Post
 5. Star Wars: The Last Jedi
6. Murder on the Orient Express

       1. Star Wars: The Last Jedi
      2. Troy
     3. Justice League
    4. Independence Day
   5. Conan the Barbarian
  6. Murder on the Orient Express
 7. Space Battleship Yamato
8. Willow
         1. Star Wars: Force Awakens
        2. Dunkirk
       3. Gladiator
      4. War for the Planet/Apes
     5. Avatar
    6. Spider-Man: Homecoming
   7. Blade Runner 2049
  8. Star Wars: A New Hope
 9. Thor: Ragnarok
10. Valerian: City/1000 Planets
Home Page
Menu Options ▼
Comments about the soundtrack for The Painted Veil (Alexandre Desplat)

Edit | Delete
A good review...
• Posted by: franz_conrad   <Send E-Mail>
• Date: Thursday, February 1, 2007, at 11:12 p.m.
• IP Address:
• Now Playing: Good German (Newman)
Message Edited: Thursday, February 1, 2007, at 11:14 p.m.

... if not really one I agree with. And perhaps a bit of context clarifies some of the points the review raises.

The reviewer refers to a lack of emotional culmination in the final cues that troubled me. For my own part, one thing I really like about this score is what Desplat does with Kitty's theme in what the reviewer calls the non-rhythmic tracks. There's an arc here, from flowering youth ('Kitty's Theme') to a 'knife' in the marital bed ('The Deal') to the final love that shines in 'The End of Love' and 'From Shanghai to London'. When the main title theme returns in the harp toward the end of 'The End of Love', I'm incredibly moved. This emotional culmination is surely there - it's just very carefully achieved.

The reviewer also remarks on the lack of ethnic references adorning the score. Perhaps we should similarly berate John Barry for his hardly inappropriate score for OUT OF AFRICA, which barely makes more than token references to the setting. I must admit I was forewarned by Desplat's recent radio interview with Daniel Scheiger of Film Music Radio, wherein he remarked that THE FIRST thing director John Curran emphasized was that he didn't want Chinese music, and that what was in the score was about the limit of the Orientalisms the film could take. And it makes sense why - the film is about the reality of near-Victorian thinking, a mindset that confines and constricts the English characters, sets them in certain roles.

If the setting is so impressively stamped on the screen at every moment, why does the music have to speak to that? Why can't it carefully render the sense of motion in scenes that might otherwise lack it ('The Water Wheel') and detail the internal life of rather emotionally blunted characters? Exoticism in this context would be a lazy - partly because it's so obvious - course for a composer. It may make pretty music for our western ears - and I like MEMOIRS OF A GEISHA as much as the next man - but when the ethnic location is so impressively rendered in a story that has a European way of thinking at its heart, isn't it just adornment for foreign eyes and ears seeking standard-issue Oriental beauty?

Sorry, but I'm not convinced the ethnic issue is half the problem this review makes of it. 4.5 stars

Comments in this Thread:     Expand >>
  •   A good review...  (2600 views)    We're Here
       franz_conrad - Thursday, February 1, 2007, at 11:12 p.m.

Copyright © 1998-2018, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.