SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Transformers: Last Knight
    2. Cars 3
   3. The Mummy
  4. Wonder Woman
 5. POTC: Dead Men Tell No Tales
6. Alien: Covenant


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
Menu Options ▼
Comments about the soundtrack for The Thin Red Line (Hans Zimmer)
Powell's Review of Thin Red Line

Charles
<Send E-Mail>
(cpe00c049e9a6f9-cm0012c99cf71e.cp
e.net.cable.rogers.com)
Powell's Review of Thin Red Line   Sunday, November 15, 2009 (5:56 a.m.) 
• Now Playing: Nothing  

A beautifully written review, though it fails to recognize what I believe was Mallick's intent all along, which if it had, would have been a little less harsh. TRL is not a three star movie.

All directors except Mallick have to contend with--compromise if you will-- film's bi-dimensional limitations. Their thought process is one of "I'd like to convey or emote in such and such a way, but because it's film, I'll adapt my approach to the medium I have to work with." Nothing wrong with that, but it's a mindset that inhibits category transforming innovation.

Mallick, on the other hand, tries to surpass the medium by employing technique that appears out of context and therefore comes across to a reviewer as being awkward and unskilled. This also applies to Zimmer's score; Hans speaks of compositional goals of gloominess and brooding. He succeeded beautifully, yet it is only Mallick's placement and sequencing of the components that converted the score from sound to language. When the strategy is recognized, the review must change.

It's only when one recognizes what Mallick is attempting to do here that his message becomes all the more powerful. TRL is not a war movie. It is a requiem for many types of loss-of life,of innocence, of pristine nature, of hope, of human potential, of paradise on earth and of worthiness in God's eyes. That is exactly what happened at Guadal. End of story?

CS



Post Full Response         Edit Post         Threaded display



Copyright © 1998-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com 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.