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The filmmakers of Pride and Prejudice (director Joe Wright) reunite for Atonement, based on the award-winning, best-selling 2002 novel, a classic British romance that spans several decades. The Decca soundtrack will be released on December 4 and features original music by Academy Award® nominee Dario Marianelli, (Pride and Prejudice) with piano solos performed by Decca artist Jean Yves-Thibaudet.
There are several themes in the score of Anna Karenina: sometimes appearing alone, often intersecting, their paths running alongside for a while. Those paths are shared by the characters in the story as they walk towards or away from convention, pretence, happiness, guilt, love, fun, and even truth.
In a very important sense, the musical motifs do not represent the characters themselves I prefer to think of them as spirits, perhaps demons, unseen, signposting the way, or simply bearing witness to the events.
Most of the action, in our version of Tolstoy’s novel, takes place in an abandoned theatre, upon or around a stage—a symbol of the make-believe life of the Russian aristocracy at the end of the 19th century. Having convention and pretence confined within the boundaries of an old theatre, hints of course to another life, one that must exist somewhere outside the confines of…[more]
The year 2005 was big for Italian composer Dario Marianelli. His score for The Brothers Grimm received much applause (probably more than the film itself) and a few months later he came back with another batch of compositions for a period film. This time around, the plaudits are reversed: The film is better than the score. And that’s not the only reversal: Since several of his compositions were to be performed by some of the characters on screen, Marianelli wrote parts of the music before the movie was shot, switching the order in which these things are…
Hot off two critical successes (Pride & Prejudice and The Brothers Grimm), Dario Marianelli went all dark and moody with his score for James McTeigue’s dystopian thriller V for Vendetta. Marianelli occasionally bursts out with powerful cues such as “Governments Should Be Afraid of Their People,” but he mostly focuses on building a sense of pervasive dread and growing tension. Interspersed among his cues are three songs which in the film are part of V’s personal jukebox of “forbidden” tunes; all three are intimate and lovely, and it’s striking…