Annal: 2000 Golden Globe Award for Best Original Score

Results of the Golden Globe Award in the year 2000.

Album:The Legend Of 1900: Original Motion Picture Soundtrack

The Legend Of 1900: Original Motion Picture Soundtrack

Ennio Morricone

Italian director Giuseppe Tornatore billed The Legend of 1900 not as a film, but rather a fable. But crucially, it’s also that rare film whose musical score essentially involves one of its lead characters. Here, the great composer Ennio Morricone has concocted a score that’s as magical as Cinema Paradiso, the team’s previous musical watershed, yet gratifyingly disparate. Though Morricone takes many of his thematic cues from the rich, raucous music of the jazz age (including rags by Jelly Roll Morton and Scott Joplin), he seamlessly fuses them with…

Album:American Beauty: Music from the Motion Picture

American Beauty: Music from the Motion Picture

Thomas Newman, Various Artists

What’s the soundtrack for suburbia gone awry? Perhaps it’s American Beauty—the music for the dark Sam Mendes-directed flick starring Kevin Spacey and Annette Bening. With its mix of classic and indie rock, the disc seems to reflect something for everyone (or at least those found in middle America). Bobby Darin’s “Don’t Rain on My Parade” is the epitome of unhip, Free’s “All Right Now” is a classic rock anthem we’ve heard way too many times, and Peggy Lee’s “Bali Ha’i” is vintage exotica at its best. But then there are some surprises: Elliott Smith’s…

Album:Angela's Ashes: Music From The Motion Picture

Angela's Ashes: Music From The Motion Picture

John Williams

Given that John Williams has his pick of much of the $80-million, thrill-packed boilerplate that comes clanging out of Hollywood every summer and fall, it’s especially noteworthy (and often gratifying) when he doesn’t exercise his option. In scoring Alan Parker’s adaptation of Frank McCourt’s Pulitzer-winning memoirs of his dire Irish upbringing in the 1930s and ‘40s, Williams has produced a graceful, autumnal work of compelling, though decidedly delicate, emotional power. Using spare piano and solo woodwind melodies filled with longing eloquence, Williams…

Album:Anna and the King: Original Motion Picture Soundtrack

Anna and the King: Original Motion Picture Soundtrack

George Fenton

George Fenton delivers on his soundtrack for Anna and the King with an instrumental score that deftly mixes sweeping orchestrations with ethnic percussion. The main theme “Arrival at the Palace” begins with a very exotic violin solo that quickly blossoms into an epic orchestral movement seemingly ready to crescendo at a moment’s notice (and it does!). Shorter cues such as “Letter of the Week” and “The House” are passages that perfectly convey the movie’s exoticism and its melancholic moods. Throughout, Fenton’s music seems to balance between excitement and…

Album:The End of the Affair: Original Motion Picture Soundtrack

The End of the Affair: Original Motion Picture Soundtrack

Michael Nyman

Brooding, modern, and introspective, Michael Nyman’s score for Neil Jordan’s screen adaptation of Graham Greene’s dark, postwar drama largely eschews melodic accessibility and convention. Instead, much as frequent David Cronenberg collaborator Howard Shore (and the great Bernard Herrmann before them), Nyman utilizes subtly shifting minimalist motifs (played by his namesake string and wind ensemble) to underscore the film’s moods and amplify its drama. Though the result may not be memorable from a traditional melodic sense, many will find it an emotionally…

Album:Eyes Wide Shut: Music from the Motion Picture

Eyes Wide Shut: Music from the Motion Picture

Jocelyn Pook

…Judged against that history, Kubrick’s final soundtrack, Eyes Wide Shut, may well be his most subtle and consistently surprising. Typically disparate, yet utterly evocative of the film’s complexity of mood and psychosexual undercurrent, it initially glides effortlessly from old Kubrick favorite Ligeti…

Album:The Insider: Music from the Motion Picture

The Insider: Music from the Motion Picture

Lisa Gerrard, Pieter Bourke

Directors making strong characteristic decisions about the music in their films are, aside from being few in number, generally people who depend on a particular composer—directors like Steven Spielberg (John Williams), Steven Soderbergh (Cliff Martinez), and John Carpenter (himself). Michael Mann is that rare director for whom musical literacy has less to do with professional partnership than with a hunger for aesthetic exploration. From his days with Miami Vice, in which he spearheaded the integration of pop songs with a scene’s motion, Mann has been…

Album:The Straight Story: Music from the Motion Picture

The Straight Story: Music from the Motion Picture

Angelo Badalamenti

We’ve come to expect a few things from composer Angelo Badalamenti’s numerous collaborations with David Lynch. His scores for Twin Peaks, Wild at Heart, and Blue Velvet all took a smoky jazz-noir aesthetic into the orchestra pit. The results were memorable—and sometimes haunting—just like the films. For The Straight Story—the G-rated (yes, that’s right) tale of an elderly man’s epic journey on a John Deere lawnmower to see his sick brother—we get a different side to both the composer and the director once again. Here the…

Album:The Talented Mr. Ripley: Music from the Motion Picture

The Talented Mr. Ripley: Music from the Motion Picture

Gabriel Yared

In The Talented Mr. Ripley, Tom Ripley (Matt Damon) becomes a master at taking on another’s identity, pretty much the same thing he does on the film’s soundtrack. Here, the actor does his best to croon like Chet Baker on “My Funny Valentine.” Damon lacks the vocal cords to really pull the standard off, but it’s still a noteworthy effort. The rest of this soundtrack is a mix of vintage jazz (exceptional cuts by Charlie Parker, Miles Davis, and Dizzy Gillespie), Sinead O’Connor’s mystical “A Lullaby for Cain,” and a handful of bop tunes played by the Guy…

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