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Comments about the soundtrack for Poseidon (Klaus Badelt)
So, where's a review for The Promise?

SethM
<Send E-Mail>
(203-59-178-223.dyn.iinet.net.au)


  Responses to this Comment:
Anthony Aguilar
Thomas W.
So, where's a review for The Promise?   Monday, June 12, 2006 (7:57 p.m.) 

"Given the symphonic talents he displayed for the concurrent release of The Promise, it's hard to imagine why he produces such simplistic muck."

Are we going to ever see a Filmtracks review of 'The Promise' to back this statement up, or are we just going to be subjected to still more aimless Badelt bashing? While I agree it is not Badelt's strongest score, you can't post a review of Poseidon and tear it to shreds, insinuating that the composer doesn't have what it takes to score a film, then make a comment such as the one above. To be fair to Badelt, and to help put the Poseidon score into some sort of Context, you need to publish a review of The Promise. I notice that we never seem to miss a John Williams score on this site, but there are at least two Badelt scores that have been all but ignored (these being Ned Kelly and The Promise) and which even serious Badlet fan such as myself consider to be his absolute best scores to date.

Even though the reviews presented here are generally very pessimistic and rarely have anything good to say of even the best of scores, what Filmtracks really lacks is a sense of balance when it comes to considering a composer's complete body of work. A site such as Soundtrack.net at least offers users the ability to vote on as-yet unreviewed scores, so users can get some idea of the general concensus concerning that composer's work.

I enjoy Filmtracks' reviews, as they do offer the 'other side of the coin,' but it'd be nice if they weren't so filled with composer bashing all the time (and not just in regards to Hans Zimmer's so called 'clones' - most composers don't seem to fair too well on Filmtracks).

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Anthony Aguilar
<Send E-Mail>
(adsl-64-123-190-45.dsl.rcsntx.swb
ell.net)

  In Response to:
SethM

  Responses to this Comment:
SethM
Re: So, where's a review for The Promise?   Wednesday, June 14, 2006 (10:26 p.m.) 

> "Given the symphonic talents he displayed for the concurrent release
> of The Promise, it's hard to imagine why he produces such simplistic
> muck."

> Are we going to ever see a Filmtracks review of 'The Promise' to back this
> statement up, or are we just going to be subjected to still more aimless
> Badelt bashing? While I agree it is not Badelt's strongest score, you
> can't post a review of Poseidon and tear it to shreds, insinuating that
> the composer doesn't have what it takes to score a film, then make a
> comment such as the one above. To be fair to Badelt, and to help put the
> Poseidon score into some sort of Context, you need to publish a review of
> The Promise. I notice that we never seem to miss a John Williams score on
> this site, but there are at least two Badelt scores that have been all but
> ignored (these being Ned Kelly and The Promise) and which even serious
> Badlet fan such as myself consider to be his absolute best scores to date.

> Even though the reviews presented here are generally very pessimistic and
> rarely have anything good to say of even the best of scores, what
> Filmtracks really lacks is a sense of balance when it comes to considering
> a composer's complete body of work. A site such as Soundtrack.net at least
> offers users the ability to vote on as-yet unreviewed scores, so users can
> get some idea of the general concensus concerning that composer's work.

> I enjoy Filmtracks' reviews, as they do offer the 'other side of the
> coin,' but it'd be nice if they weren't so filled with composer bashing
> all the time (and not just in regards to Hans Zimmer's so called 'clones'
> - most composers don't seem to fair too well on Filmtracks).

The only reason as to why Christian does not review certain titles is for one of two reasons, or possibly both:

1) The releasing company does not send him one, OR
2) he does not have the personal time.

While I do see what you are saying, both of those reasons are very good reasons so lay off of him.

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SethM
<Send E-Mail>
(203-166-242-194.dyn.iinet.net.au)

  In Response to:
Anthony Aguilar
Re: So, where's a review for The Promise?   Friday, June 16, 2006 (7:35 p.m.) 

> The only reason as to why Christian does not review certain titles is for
> one of two reasons, or possibly both:

> 1) The releasing company does not send him one, OR
2) he does not have
> the personal time.

> While I do see what you are saying, both of those reasons are very good
> reasons so lay off of him.

If we take option A then any comments Christian makes regarding The Promise and comparing it to Poseidon are a lie because he's never heard it. Even if he's only heard samples, you can't run a review site and not properly review the material you're taking about.

Or, if we take option B, he can take the time to review Poseidon and bash Badelt (for which he's always got plenty of time it seems), but he couldn't have reviewed The Promise instead and have something positive to say for once?

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Thomas W.
(p54a28a05.dip0.t-ipconnect.de)

  In Response to:
SethM

  Responses to this Comment:
SethM
Re: So, where's a review for The Promise?   Thursday, June 15, 2006 (11:42 a.m.) 

> "Given the symphonic talents he displayed for the concurrent release
> of The Promise, it's hard to imagine why he produces such simplistic
> muck."

> Are we going to ever see a Filmtracks review of 'The Promise' to back this
> statement up, or are we just going to be subjected to still more aimless
> Badelt bashing? While I agree it is not Badelt's strongest score, you
> can't post a review of Poseidon and tear it to shreds, insinuating that
> the composer doesn't have what it takes to score a film, then make a
> comment such as the one above. To be fair to Badelt, and to help put the
> Poseidon score into some sort of Context, you need to publish a review of
> The Promise. I notice that we never seem to miss a John Williams score on
> this site, but there are at least two Badelt scores that have been all but
> ignored (these being Ned Kelly and The Promise) and which even serious
> Badlet fan such as myself consider to be his absolute best scores to date.

> Even though the reviews presented here are generally very pessimistic and
> rarely have anything good to say of even the best of scores, what
> Filmtracks really lacks is a sense of balance when it comes to considering
> a composer's complete body of work. A site such as Soundtrack.net at least
> offers users the ability to vote on as-yet unreviewed scores, so users can
> get some idea of the general concensus concerning that composer's work.

> I enjoy Filmtracks' reviews, as they do offer the 'other side of the
> coin,' but it'd be nice if they weren't so filled with composer bashing
> all the time (and not just in regards to Hans Zimmer's so called 'clones'
> - most composers don't seem to fair too well on Filmtracks).

I thought Ned Kelly was one of the worst scores I've heard in a long time. You get the worst of Titanic, Braveheart, The Thin Red Line and many many other scores. It's so unoriginal. The Promise is quite OK, though.


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SethM
<Send E-Mail>
(203-166-242-194.dyn.iinet.net.au)

  In Response to:
Thomas W.
Re: So, where's a review for The Promise?   Friday, June 16, 2006 (7:55 p.m.) 

> I thought Ned Kelly was one of the worst scores I've heard in a long time.
> You get the worst of Titanic, Braveheart, The Thin Red Line and many many
> other scores. It's so unoriginal. The Promise is quite OK, though.

When you say Ned Kelly sounds like Titanic and Braveheart, are you talking about the Irish influences? Because if you are, then I completely disagree with you. Badelt used an Irish whistle, yes, but it's used very sparingly and shouldn't be confused with the Uillean Pipes that Horner used for his scores (which to me bordered on being almost completely out of context in Titanic, regardless of Leo's character being Irish). In Braveheart, the pipes played the main theme, while in Ned Kelly they are only specific to the Ned Kelly character, and aren't part of the main theme (as heard in 'Ned Kelly'). It suited the film perfectly and, like The Promise, though there are synth credits in the booklet, they are very low-key and the score is almost completely orchestral.

Also, given that Badelt worked on The Thin Red Line, it should be little wonder that similar approaches crop up here and there, as they do for ALL composers. I mean, you can tell a John Williams score a mile off, after all. It's all about having a recognisable style, which, apart from Poseidon, Badelt has - there are recognisable ways that we uses electronics as well as the orchestra. But you have to critically listen to his work, the same way you'd have to critically listen to any composer's work in order to pick up on their signature sound.

I'd hardly say that Ned Kelly is even remotely close to sounding like The Thin Red Line, or any of the scores you mentioned. But then, in what ways do you think it sounds like 'the worst' of those scores? Serious, I'm interested to know.

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