Thursday 14 March 2019

Alternate Best Actor 2013: Toni Servillo in The Great Beauty

Toni Servillo did not receive an Oscar nomination for portraying Jep Gambardella in The Great Beauty.

The Great Beauty follows a writer as he explores a life of decadence and art in Italy.

If that plot synopsis sounds similar then you're probably thinking of Fellini's La Dolce Vita. This is not a hidden quality as Paolo Sorrentino wears his influences on his sleeve to the point that Toni Servillo's character of Jep Gambaredella seems a bit of amalgamation of Marcello's Mastroanni's Guido Anselmi and Marcello Rubini from 8 1/2 and "Vita" respectively. This is as he shares the same basic appearance of Guido, particularly down to his iconic pair of corrective lenses and is a writer examining those on most high like Marcello. One major difference is the age of the character who is a bit older than either, though you might say is an approximate to Marcello by the end of that film. The man is again that of the observer, fitting to a film with a particularly blunt directorial edge, who is seeking for some "great beauty" as he grows older, and must deal with the hollowness of the life of the decadence. Again, not at all far from the struggle Marcello faces in "Vita", and much like Mastroanni's work in that film, Servillo's performance is a passive one. A performance with a particular intention though nonetheless as his work must create the meaning to a film that is claimed to be about nothing, and is essentially stated to be as such in its final moments.

I had my concerns regarding this film already given my lack of affection for Sorrentino's later effort about an observant elderly man in the lap of luxury in Youth, and the fact that I was not too impressed by Servillo's minimalist performance in Il Divo, as a tight lipped and very careful politician. This performance actually isn't nearly as purposefully repressed at that work, though certainly still low key as leading turns typically go. Well on one hand, I preferred this film to Youth, though much of Sorrentino's directorial touches still distracted rather than amplified the drama for me, and I certainly did not think it was the masterpiece the film is clearly aspiring to be. On the other hand I did actually rather like this performance from Servillo and he essentially realized what I did like about the film. This is as his work essentially offers the soul to the piece that otherwise would be as hollow as the world it is critiquing. Servillo's work is a much needed anchor for the entire experience of the film as he is this constant that offers essentially the humanity to the film, that is not always foreseen within Sorrentino's choices of sweeping shots, rapid editing, randomness of perspective and glossy aesthetic.

Servillo's portrayal of Jep manages to be captivating in creating the sense of the experience through his performance, which is quite often a series of reaction shots. Servillo's work though doesn't waste this idea, nor does it honestly seem constricted by them, as it essential in creating the man's existence and his way of navigating his world. This is as in the state of observing one outrageous if not grotesque piece of art, Servillo's piercing eyes offer his own critique merely in them rather than in a befuddled glance or light deprecating chuckle. Servillo's work offers the expertise essentially of the man who looks not only with the sense of a critic, but also this idea of the exasperation. There is the light touches of an exhaustion within his way of maneuvering within these sequences, of a man just slowly walking around struggling to keep up the act fully. Servillo manages to find the right state of not an overt ennui, but rather this need for a genuine curiosity. Servillo manages to broach this sense of it though within the confines of the man still stuck in the state of near lethargy as lead by a career that hasn't lead him to any great meaning. This creating a certain low key struggle that Servillo realizes effectively without falling into any type of hollow posturing.

As seems a requirement of  a Sorrentino film, there must be a moment where his visual storytelling takes a break for some monologue, usually critical of someone or something. Well that does appear here in essentially Servillo's Jep tears down one of his fellow bourgeoisie speaking with some great affection for her own self. Servillo's work is essential in his work as he does manage to make it natural moment as a lashing out that is concise and confident, fitting for a critic, but with this certain internalized anxiety as he accentuates the speech as much of a critical appraisal of his own experience as much as it is hers. This in addition is nicely, subverted a bit later on when he interacts with her again with a near repentant flirtation which Servillo manages to infuses a real charm within in his own unassuming way. The center of his work though is that seeking some truth whether it be examining the past, the present or even the future in a way. In this, is where Servillo finds the real power within his work, as his moments of melancholic reflection on youth, the loss of his real friends, or in his moments of finally finding a real beauty in his existence and art, capture a real poignancy. Servillo loses any hollowness or exasperation, being genuinely moving at times in creating the deeper sense of reflection and the haunting feelings of the truly meaningful moments one can find in life. Although I will admit the film did not in itself create a meaningful experience for myself, I cannot fault Servillo's work that managed to carry me through it all, and at least leave something of value within all of vapid extravagance.

69 comments:

Charles H said...

Haven't seen this one. But good to know he's better here than Il Divo,

Mitchell Murray said...

Haven't seen this one either, but your review has me intrigued about the film.

Not sure if this has been asked before, but to everyone here, who would be some of favourite actresses who have yet to be oscar nominated? Mine might include the following;

Emily Blunt
Carrie Coon
Mary Elizabeth Winstead
Jamie Lee Curtis
Elizabeth Olsen (Her film debut performance alone suggests a real potential in her.)

Bryan L. said...

Mitchell: I'd add Elle Fanning onto to that list as well, although she might get one sooner rather than later.

Bryan L. said...

Louis: Your thoughts on Ben Foster's next film after Medieval? Here are the details.

https://variety.com/2018/film/news/ben-foster-boxing-drama-harry-haft-1203019939/

Tahmeed Chowdhury said...

1. Pegg
2. Sol
3. Waltz
4. Gleeson
5. Servillo

1. Fukuyama
2. Bale
3. Hawke
4. Stamp
5. Ehrenreich

Bryan L. said...

Louis: Also, to add on to the casting news, Glenn Howerton will have a main role (hopefully) in an upcoming film. Thoughts?

deadline.com/2019/03/emma-roberts-justin-hartley-glenn-howerton-damon-lindelof-the-hunt-universal-blumhouse-1202573567/

Tahmeed Chowdhury said...

Louis: Is there a possibility of you reviewing Miles Teller in Whiplash, or Domhnall Gleeson in Ex Machina?

Anonymous said...

Louis, Your thoughts on 'King Of Pride Rock' from The Lion King.

Michael McCarthy said...

Bryan: Damn, Justin Hartley’s in It too? Color me intrigued.

Calvin Law said...

Bryan: I can only hope that’ll be an ace film though as always Linelof gives me pause.

Anyone else really looking forward to Us? The reviews have been great.

Calvin Law said...

Also in other news Andrew Dominik’s next film is a biopic of Marilyn Monroe starring Ana de Armas.

Bryan L. said...

Calvin: Dominik doing another film about an iconic American figure? Hhmmm...could be interesting

Michael: I'm afraid I'm not familiar with Hartleys work, but I'm praying this film turns out good and increases Howertons profile.

As for Ben Fosters film, the part sounds as juicy as it gets for him and for the Academy to take notice. Levinson as director gives me some pause though.

Luke Higham said...

Disney/Marvel gave James Gunn his job back. WTF.

Anonymous said...

Louis: Your thoughts on the cinematography of The Right Stuff, The Natural and The Passion of the Christ.

Calvin Law said...

Luke: The way this whole situation was handled on all sides is hilarious.

Mitchell Murray said...

Speaking of controversy, what are everyone's thoughts on this trailer?

https://www.youtube.com/watch?v=ESYU-bkmxuI

Here's what I'll say right now; Coming from someone who will still vehemently defend "Hacksaw Ridge", I'm not sure how I feel about Mel Gibson returning in front of the camera. I'm also not thrilled about Sean Penn returning either, given his reputation and frankly overrated praise as an actor. Nevertheless, this does look like an interesting story, and Gibson and Penn seem genuinely invested here. It's probably a movie I will seek out at some point, while also being curious at how it will ultimately be received.

Bryan L. said...

Mitchell: I'm hoping Gibson gets Sean Penn in line.

Charles H said...

James Gunn back on the job is a complete joke.

Matt Mustin said...

Charles H: I do not share your feelings in the slightest, but I'm not gonna argue about it here.

RatedRStar said...

That Scottish accent Gibson is doing is pretty flawless I must admit, all that practice from years gone by eh? lol.

Robert MacFarlane said...

I’m not watching that trailer. I’m not watching that movie. I’m going to continue pretending Mel Gibson doesn’t exist and never has.

Also, good on Disney for making the right choice with Gunn.

Mitchell Murray said...

Robert: While its not in my position to say whether or not Gunn should be fired, I still find his tweets to be absolutely tasteless and ignorant, so I just hope he's changed since then.

Robert MacFarlane said...

Mitchell: They were gross, but he has shown massive growth since then. Not to mention most of them were made during his Troma days back when he was paid to say shit like that. More than that, his entire firing was due to a bad faith campaign by Neo-Nazis, so yes, I am happy to see that Jack fucking Posobiec losing the one battle he thought he won.

Mitchell Murray said...

Robert: Also, with regards to your stance on Gibson, its here where I might quote a particularly on-the-nose line from the trailer, but its not in my personality to be so provocative.

Charles H said...

Mitchell: It's a simple issue for me. Gunn posted hundreds of sick “jokes” on twitter and now he gets reinstated to direct a film which could be considered a children’s movie? Especially after the recent expose of Hollywood i don't think this is a good move by Disney to(in a way) accept his behavior and allow him back.

Matt Mustin said...

Chalres: They knew about the jokes before they hired him for the first movie.

Calvin Law said...

Yeah I’m with Robert on this one. At the end of the day this is very different to say, Roseanne, particularly in Gunn’s response.

Anonymous said...

Louis: Your top ten ensembles of 2018

Louis Morgan said...

Saw Captain Marvel, sadly was largely a disappointment for me. The action wasn't particularly notable. The attempt at a different narrative for an origin was admirable, but I didn't think they pulled it off. This as the brushing of Danvers's past made her past have the depth of a Nike commercial. The standing up moment, which should've been a great fist pump moment, was underwhelming. The whole narrative though struggled in creating the war, which felt vague best. The idea of the twist also didn't really work for me since we already knew the Kree were villains from Guardians. A major flaw though was in the character of Danvers, of which they consistently sabotaged by having her randomly shift from a fish out of water amnesiac to a more typical snarky marvel hero (the two that I didn't think they naturally cohered, nor was it properly played as her true self coming out.) The whole film to me felt too timid to really go for something new, leaving itself just generic yet still disjointed.

Bryan:

The screenwriter is mostly untested, so that makes Levinson's involvement a bigger question mark. A juicy role for Foster though makes me interested no matter what though, hopefully it is a return to form for Levinson.

Well I'm in no matter what, as to be a man of my word, I want to see Howerton have his chance to prove the potential he's shown in Dennis.

Tahmeed:

Leaning towards probably not.

Anonymous:

A downright gorgeous piece that is very evocative of some of Zimmer's best. This being that combination of the downright grandiose towards a grand operatic quality. This right within his sort ability to create the most emotional themes, so beautifully utilized here making fully use of a especially epic orchestration in terms of the expansive instrumentation, that he brilliantly supplements slowly with voices, before unleashing to such a powerful climax that brings us back to the beginning.

Anonymous:

The Right Stuff's cinematography by Deschanel is a stunning achievements in terms of the sheer breadth of the work. This is in capturing a whole lot of different needs and doing so with such magnificent ease. This is as we do get some downright gorgeous glorious shots that evoke a striking near mystic quality, particularly the scenes involving Chuck Yeager. These moments with such powerful use of lighting, and compositions that are of great paintings. This is against the scenes with the Mercury crew that becomes blunter, yet effective in a different way, as every shot is so effectively composed and framed, creating such dynamic crowd, and group shots. The lighting is less dynamic, as it frankly should be for the situations, as Deschanel uses whatever element he can amplify within a scene, to never distract or seem ill-fitting to the tone. Then of course there quite bluntly is just some brilliant effects/stunt work throughout that captures every achievement, so beautifully yet without losing a needed visceral edge.

Will get to the next two soon.

Anonymous:

1. The Ballad of Buster Scruggs
2. The Favourite
3. The Other Side of the Wind
4. Mandy
5. Bad Times At The El Royale
6. Boy Erased
7. Hereditary
8. Isle of Dogs
9. Sorry to Bother You
10. Widows

Luke Higham said...

Louis: Ratings and thoughts on the cast.

RatedRStar said...

Louis: I think I liked Captain Marvel a little more than you did although I would put it in the lower end of Marvel films, I think the script and direction is mostly to blame here, which sadly cant decides if Danvers is a fish out of water character or a snarky type, I think they should have gone with the former mostly, I did like the peformances by Ben Mendelsohn and Samuel L.Jackson who gave it there all.


I did like the Cat also, being a Cat person I cant help but enjoy the cat. I should also say I actually think Larson does a fine enough job as the fish out of water character, some enjoyable scenes with Jackson, although not as well as Gal Gabot did in Wonder Woman, its the snarky side for me that didn't work.

Louis Morgan said...

Anonymous:

The cinematography of The Natural is so good, that it earned an acting nomination. Close herself has attributed her nomination to Deschanel's brilliance, which is quite noticeable. As the way he manages to make the light capture her halo in creating her angelic presence, is a pretty stunning achievement all on its own. The work though is absolutely wonderful in creating this sort of essential Americana so fitting to the baseball story. Every shot is gorgeous as Deschanel so carefully uses some low lighting, that has this assumed naturalism to it, yet it is so perfectly used one can only say it must have been so very precise. This though, makes his moments of striking light, such as the hat, or the light destruction, absolutely stunning. It is also just fantastic framing and composition work, as again he grants this epic quality to the baseball story, through the expansive crowd shots, or just even the so immaculately realized interior work. He makes something as simple as a team meet inside, a beautiful shot. Amazing work.

Luke:

Larson - 2.5(Sadly for me this was closer to her work in Kong Skull Island than Room. Although the writing sabotages her to a degree, in that there's Snarky Danvers, than there's fish out of water Danvers, she also doesn't really try to cohere them with her performance either. She plays scenes completely differently, sometimes as the hollowed soldier others as that snarky hero. She doesn't play the emotional moments as these outbursts from her conditioning to make sense of them. She practically plays the role as two characters lacking a needed logic in the transitions. I also found she just had a couple of stilted line readings oddly enough, namely her big moment with Bening at the end of the film, then her final threat about finishing the war. These seem even odder in their existence as this is when her character should be most emotional by the film's own story, yet Larson sells them the least.)

Jackson - 3.5(This is also illogical in terms of the overall Fury, as the suspicious man of the future, which again goes into the limits of Marvel refusing to go too dark sometimes. As his arc of staying light, even after that extremely stupid way he loses his eye happens, doesn't match the Fury we know. Having said that in the confines of the film Jackson gives an entertaining performance. I will say it is nice to see him not do the typical badass, so I won't even mind the disconnect since it is at least outside of this film. I will also say the de-aging was quite effective and at least grants a bit of hope for The Irishman's use of it.)

Mendelsohn - 4(The best part of the film, though I think direction wise they could've played with his clever casting a bit more in the early scenes. Mendelsohn though nicely uses his chances to get to do a bit more than he's given in most blockbusters finding the right passion in his work while also offering just enough of the expected Mendelsohn presence.)

Hounson & Pace - (Pointless really, and that was some lazy makeup on Pace.)

Lynch - 3(Brings the most emotion within the Danvers back story plot. She does manage to at least something genuine even as poorly detailed as the film is.)

Bening - 3(Sadly is rather underutilized in both roles, as she only has one moment where she really gets to let loose, which she handles fairly well, but I think they could've done a lot more with her both as the intelligence and as her other character.)

Law - 2.5(Neither are any worse nor any better than any truly generic tough commanding officer type.)

Calvin Law said...

Definitely liked Larson a lot more than you but I understand your reservations overall.

Emi Grant said...

Louis: Thoughts on the trailer for Charlie Says?

Bryan L. said...

Louis: Your past film roles for Ben Foster?

Bryan L. said...

Louis: Also, your cast and decade of release for a David Lean version of Titanic (1997)?

Tahmeed Chowdhury said...

Louis: Do you think vocalists who didn't write the lyrics/melody of a song should be recognized as well for Best Original Song? The song that brought up that question for me is 'When a Cowbody Trades His Spurs for Wings'- brilliant lyrics aside, I don't think the song would have been as memorable as it was without Tim Blake Nelson and Willie Watson's vocal performances.

Tahmeed Chowdhury said...

To anyone who hasn't seen it, I'd wholeheartedly recommend Netflix's 'Sex Education.' In spite of its rather unconventional premise, it has absolutely terrific performances and character development. Also, it has to be the first time I found Asa Butterfield above average in anything.

Michael McCarthy said...

I hate to say it but I agree about Larson in Captain Marvel. To be fair to her, the writers tried to do way too much with her character. The other characters all seemed to think she was over emotional even though she was written as decidedly stoic. I suppose there was a point being made there, but it was a very muddled one.

Also y’all are sleeping on Lynch. She’d be an easy 4 for me.

Calvin Law said...

RIP Richard Erdman.

Anonymous said...

Louis: Your thoughts on the production design of Chinatown and The Untouchables.

Omar Franini said...

Louis: what are your rating and thoughts on Ferilli?

Louis Morgan said...

Emi Grant:

Well hopefully, the cult won't be a big part of Taratino's film. As for this, this does not look aggressively bad, but doesn't look at all remarkable.

Bryan:

Jett Rink
Badass Buddusky
Biff Grimes

Bryan:

Titanic (1940's directed by David Lean, he had given up on romance pretty much after 1949 I think)

Jack: Richard Attenborough
Rose: Deborah Kerr
Cal: Trevor Howard
Ruth: Celia Johnson
Lovejoy: Alastair Sim
Molly Brown: Jane Darwell
Thomas Andrews: Alec Guinness
Captain Smith: Herbert Marshall
J. Ismay: Claude Rains

No Hackneyed framing device.

Tahmeed:

I wouldn't be against it since a great vocalist can make or break a song. I also think the song producer (which isn't always the lyricist or composer) should also be included as they are often essential to the greatness of a song. I also do think they should submit a specific version.

For Example:

https://www.youtube.com/watch?v=UJwyW9ngLNg

Eh...

https://www.youtube.com/watch?v=BEm0AjTbsac

Amazing!

Same song technically speaking in terms of who composed it and who wrote it, yet couldn't seem more different in terms of the final product.













RIP Richard Erdman, give it up for Hoffy.

Tahmeed Chowdhury said...

Louis: I remember a couple of years ago that you wrote that you were planning on doing something 'special' in the blog in commemoration of the final season of Game of Thrones.

If you still plan on doing that, will it be after the series finale?

Calvin Law said...

2000s Giant directed by Alfonso Cuaron
Leslie: Rachel Weisz
Bick: Ethan Hawke
Jett: Ben Foster

2010s Angels With Dirty Faces directed by Lee Chang-dong
Rocky: Ben Foster
Jerry: Steven Yeun

2010s White Heat directed by Kathryn Bigelow
Cody Jarrett: Ben Foster
Verna Jarrett: Rooney Mara
Hank Fallon: Aidan Turner
Ma Jarrett: Rosemary Harris

Bryan L. said...

Louis and everyone: Thoughts on the Zahler-scripted Western that Park Chan-wook is set to direct, with McConaughey potentially starring?

Here are some more details.

https://www.indiewire.com/2019/03/the-brigands-of-rattlecreek-park-chan-wook-s-craig-zahler-1202051690/

Anonymous said...

Louis: Your top 10 promising directors who turned out to be a kind disappointing

Charles H said...

Louis: Your thoughts on the ending of The Heiress

Matt Mustin said...

Bryan L: That sounds so awesome.

Charles H said...

Bryan: Park making a western? Hell yeah.

Álex Marqués said...

Has anyone seen this year's Oscar-winning short Skin? Holy shit, it's so laughably bad.

Bryan L. said...

Matt and Charles: I am very intrigued, and I hope McConaughey agrees to star, since the material seems perfect for him and he could definitely use a good movie right now.

Although The Beach Bum (of all films...) is getting good notices at SXSW.

Matt Mustin said...

Bryan L: Of course it is, though. SXSW is the perfect venue for a Harmony Korine film.

Louis Morgan said...

Anonymous:

The Untouchables's production design is fairly low key in its careful location work. This is mainly by taking those places and just making them fitting to the period again. That isn't anything to sniff at mind you, and the work of William Elliott sort silently creates the appropriate time.

Chinatown is similar in terms of going in for a more lived in look for its Los Angeles of the 30's. This is in some impressive set decoration with some especially intelligent location choices. Again though just strong "invisible" work in terms of crafting the period. There is though in addition some striking work in terms of the interiors whether it be the more direct, though appropriately authentic feeling, office of Gittes, or the slightly more lavish locations of those he's following or dealing with.

Omar:

Ferilli - 3(I thought her performance was fine, but it didn't really stand out for me within the film. I didn't think she did anything particularly notable or remarkable. I frankly preferred Ranzi out of the ladies.)

Tahmeed:

Well see, however I'm not sure at the moment.

Bryan:

Well I'm most interested in that. I will say the weakest element in Zahler's films, other than his casting of love interests, has been his directing, particularly when it comes to killing his darlings. Park's direction is usually the strongest element of his films however, so this could be quite the match. McConaughey also seems like a perfect fit for both a Zahler/Park protagonist.

Charles:

A great ending as essentially we all have the characters to such bitter ends, from Dr. Sloper being proven right about Morris, though to not benefit of himself, while his daughter left into the same vindictive state as her father, seeking almost a final revenge, though also almost a suicide of her own in shutting out any future possibilities, while shutting down Morris. Great work though shows the strength of the drama, where a mere order of bolting the door means so much.

Anonymous:

1. Roland Joffe
2. Neil Blomkamp
3. George Lucas
4. M. Night Shyamalan
5. George Clooney
6. Barry Levinson
7. Jan de Bont
8. Duncan Jones
9. Dan Gilroy
10. John Hillcoat

Anonymous said...

Louis: Who would have you gotten to shoot the Crystal Skull instead of Kaminski? While some of his collaborations with Spielberg work, some do not and the Crystal Skull is a film where it just doesn't.

Matt Mustin said...

Watched Bad Times at the El Royale, which I thoroughly enjoyed. I especially liked how it wasn't a Tarantino knockoff like I was expecting, in fact, I thought it felt much more Agatha Christie, especially in the beginning. Cast is mostly great. Hemsworth I didn't think was bad, but his performance lacked the impact that his character is supposed to have, and I couldn't help but think while watching him how much better Matthew McConaughey would've been in that role.

Matt Mustin said...

Also, great to hear a soundtrack use a Deep Purple song that's not Smoke on the Water or Highway Star.

Bryan L. said...

Matt: Your ratings for the cast?

Matt Mustin said...

Bryan L:
Bridges-5
Erivo-5
Pullman-5
Johnson-3.5
Hamm-3.5
Spaeny-3
Hemsworth-3

Calvin Law said...

Louis: your thoughts on Jerry Goldsmith’s score to Mulan?

ruthiehenshallfan99 said...

Charles: Bolt the door Maria(h).


At least that's how de Havilland pronounces her name. Regardless, that's one of my favorite endings.

Bryan L. said...

Matt: Seconded, and that Agatha Christie mention is comparable I think. Oh and I would've loved to see McConaughey in that part as well.

Bryan L. said...

Louis: Your thoughts on Smokin' Aces as a missed opportunity?

And your thoughts on this 2010s version of the film?

Directed by Drew Goddard

Buddy Israel- James McAvoy
Richard Messner- Miles Teller
Donald Carruthers- Benicio del Toro
Jack Dupree- Channing Tatum
Darwin Tremor- Jack Reynor
Georgia Sykes- Cynthia Erivo
Sharice Watters- Tessa Thompson
Lazlo Soot- Pedro Pascal
Ripley Reed- Glenn Howerton (He'd be perfect for Buddy, but he'd be more likely cast in this part)
Stanley Locke- Josh Brolin

Luke Higham said...

John David Washington is the Lead for Nolan's next film.

Calvin Law said...

Interesting choice to say the least.

Also not getting great vibes from the Toy Story 4 teaser.

Louis Morgan said...

Anonymous:

While I don't think better cinematography would've saved the film, Kaminski and Spielberg frankly could use a dudevorce anyways.

Zsigmond was still working at the time, he would've been a better choice. Dean Cundey probably would've been most fitting though, who doesn't deserve to be banished to the land of Jack & Jill.

Bryan:

A fine central idea, even has several characters with potential, but the whole film feels like a first act that never goes anywhere, until it gets bogged down into the nonsensical plot involving Israel's heritage in its anti-climax. The set-up scenes are even pretty good, but falls apart once they get to the hotel. The only scene I probably like past the set-up is Pine's final scene.

For Tremor I'd say maybe Nicholas Hoult instead, I think Reynor does best with more naturalistic characters, Hoult could pull off the madness.

Luke:

Cool.

Calvin:

I wouldn't say this is one of Goldsmith's great score, but we're talking about Goldsmith here. The compositions are pretty strong from him though, as usual, I'd say his instrumentation here is a little weaker than usual in his perhaps experimenting with synth and some traditional instruments. Not that it is bad mind you, it just doesn't always cohere perfectly and it probably would've worked better if the synth wasn't there which seemed a little dated even in the 90's quite frankly. When it stays towards more traditional it doesn't hide the power of his work that is rather striking, and quite dark for a Disney score. A lot of it is atmospheric, though effectively so, but his pieces with a more overt heroism (for Mulan) or menace (for the Huns) you get some prime Goldsmith.

Agreed, looks like they're treading water, which is a shame given the strength of the series. Looks more Finding Dory than Toy Story 2 or 3.

Bryan L. said...

Louis: Speaking of, your thoughts on Pine's scene with Affleck in that film (and the use of a Morricone track) as well as Pine's last scene?

Calvin Law said...

2010s The Heiress directed by Peter Kosminsky
Catherine Sloper: Carey Mulligan
Morris Townsend: Andrew Garfield
Dr Sloper: Mark Rylance

Louis Morgan said...

Bryan:

Well using the dying soldier's song is always a plus to any scene. I have to admit though it is an amazing scene even past that, due to Pine's performance which is both hilarious in his mock self-forgiving delivery as "the forgiving dead man" yet kind of strangely moving all the same in the moment of his reaction to "I know so" about heaven. It's a kind of wonderful madness that I wish the rest of the film had been able to achieve.