Once again, another traditional “dumping ground” month dredges up some solid scores from largely under the radar films.
Joseph Trapanese continues building his resume with the impressive Arctic. The score, like the film, is oppressively bleak. To accomplish this, Trapanese uses a delicate mixture of sparse and harrowing violin and piano, with occasional bursts and pace. Among these dark moments is the melody on “Inevitable,” one of the score’s highlights.
Limousine brings a sultry modern lounge jazz sound to the French film Deux Fils. Although the subject matter is starkly different, the score is particularly reminiscent of mid-century European neo noirs. Licensed songs, like Orlando Julius’ afro pop classic “Disco Hi-Life” round out the soundtrack for a stylishly eclectic feel.
Shortly before his death, legendary composer Michel Legrand completed his score for Orson Welles’ The Other Side of the Wind. Legrand doesn’t disappoint, with a stunning and refreshing jazzy/symphonic score that fuses modern sounds with significant musical elements and ideas from the 50s, 60s, and 70s.
Of February’s larger releases, Bear McCreary’s score for Happy Death Day 2U is by far the most memorable. It slowly builds from classic horror elements into a mash of genres – from French street music, experimental synths, and melodic piano interludes.
Finally, Justin Adams’ Burning Men showcases a varied and immersive take on blues and Americana inspired electric guitar scoring. His score is often reminiscent of Neil Young’s Dead Man, but with occasional forays into the psychedelic. For example, “Viking Rune” is a surprising dark and droning experimentation.
