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In a very technical sense, from the tones of the orchestration to the relationship between melody and staggered baselines, Newman offers a score that will remind significantly of the works of Franz Waxman and Miklós Rózsa. In both the robust title music (which in traditional fashion blasts into the score immediately and sends you off with its similar performance at the end) and the whimsical love theme variant, Newman captures the technical ambience of the era well. Subtleties and modern complexity are jettisoned for a score that has few reminders of its own composer's dominant style. Only in "Kraut Brain Trust" do some of Newman's quirky, sharp string rhythms betray the Golden Age sensibilities, and, for his collectors, this cue may very well be a highlight of the entire project. The only variation instrumentally is a faint mandolin that occasionally contributes in a marginal mix (as in "A Nazi and a Jew"). A hint of early Bernard Herrmann stylings exists in the latter portions of the title theme, and is quite enjoyable in "Kurfurtendamm." The overarching problem with Newman's score, however, is the total lack of warmth that it radiates for its own love story. Similarly slighted is the passion of the post-war locale. True Golden Age scores sometimes lack personal resonance with modern listeners simply because of their archival sound. But Newman's score is crystal clear (though in a very dry mix, also true to the aged sound of the era), and it still lacks convincing warmth. The film has been criticized heavily for not asking you care about its characters, and in these regards, Newman doesn't do much to help either. There is nothing as engrossing in the high string flourishes of the love theme or dramatic brass statements as Waxman or Rózsa's similar efforts, making one wonder if Newman placed the same excruciating emphasis on technicality as Soderbergh, forgetting the depth of a more romantic personality that often served as the allure of Golden Age works. With stylings as authentic in movement as those that Newman did provide for The Good German, however, it's easy to hear why he was nominated for an Academy Award (the film's only one) for the effort. But the score remains cold at heart, and while it's certainly an interesting listening experience on album, it doesn't involve you emotionally to the degree that you would hope.  ***   @Amazon.com: CD or Download

Bias Check:

For Thomas Newman reviews at Filmtracks, the average editorial rating is 3.14 (in 37 reviews) and the average viewer rating is 3.18 (in 60,753 votes). The maximum rating is 5 stars.

Total Time: 44:26