His Oscar- and BAFTA-winning “Il Postino” score was the beginning of a slowdown for Bacalov both in output and in the tone of his scores. Matthew,” but the music he composed for Michael Radford’s 1994 schmaltz-fest couldn’t be any more different to what played as Franco Nero pulled a coffin through the desert. Luis Bacalov was of highest regard for his work on spaghetti Westerns (“Django,” “The Price of Power,” “His Name Was King”) and Pier Paolo Pasolini’s “The Gospel According to St. “Il Postino” (composed by Luis Bacalov, 1994) This is the stuff of operatic lore as much as Glass’ own operas, and his “Candyman” score - full of relentless chromatic peaks and valleys on organ, piano, music box, and choir - is of a piece with his celebrated “Akhnaten” and “Satyagraha” and “Koyaanisqatsi.” Classical music is often a part of horror movies, from Dracula playing Bach’s “Toccata and Fugue” to Kubrick using Berlioz, Ligeti, and Penderecki in “The Shining.” These, like so much of horror movie history, are white stories in which Black people are often absent or disposed of as collateral damage “Candyman” stands out by centering a white character (Virginia Madsen) who discovers that she’s really just a player-piece in a Black story, the film tacking against the current with Glass’ score as the gale-force wind behind its sails. In the present, the Black Chicagoans of the Cabrini-Green project both revere - and live in fear - of his legend, while navigating ongoing racism and marginalization in their own time. And it’s that level-headed everyman side of him that allowed Glass to produce a score of grandeur and empathy for Bernard Rose’s 1992 film about the legacy of trauma at a neglected Chicago housing project, where a turn-of-the-last-century Black artist was killed by a white lynch mob and lives on as a ghost (Tony Todd) to haunt those who dare not believe his story. ![]() Philip Glass may be one of the most celebrated, boundary-pushing composers of the past half century, and yet the concert hall isn’t his only habitat: he’s been known to moonlight as a plumber throughout his career to keep his work grounded. “Candyman” (composed by Philip Glass, 1992) ![]() Here are our picks for the 25 best movie scores of the ’90s.Īdam Solomons, Steve Greene, and Emma Stefansky also contributed to this article. Hell, even “Stop! Or My Mom Will Shoot” had Alan Silvestri going absolutely nuts over the soundtrack. However, the play on the term ‘collateral damage’ fails to hit home as the movie takes a long-winded route to get there.Women like Rachel Portman and Deborah Wiseman continued to make headway in a field from which they’ve long been excluded, while some of the most essential composers of the 21st century (Carter Burwell) began to hit their stride and point towards an even brighter future. The message being – when you accept your losses you can move beyond suffering and pain, down a path of redemption which is a thing of beauty. Their conversations play out like revelations through crisp dialogue. Seeing that thread unravel through the film is a joy to watch. Redemption for viewers is in the form of the unlikely relationships that develop between Amy and Whit, Raffi and Claire and Bridgette and Simon. But philosophy flies thick and fast, from minor characters as well. You hope that when the three actors enter Howard's life, there would be some comic relief. But at times, it gets a little overbearing and even the dry humour employed makes the suffering feel endless. ![]() ‘Collateral Beauty’ is a tearjerker heavy on emotions. Enter Amy (Keira Knightley) as love, Raffi (Jacob Lattimore) as time and Bridgette (Helen Mirren) as death. They hire actors to become the three concepts to meet Howard and freak him out so he can be declared mentally unstable, thus saving the company. In a bid to have Howard relinquish his toxic hold over the company, his three associates play a trick on him.
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