Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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Tomorrow is Thanksgiving. This is a day commemorating a single moment in history when the white people actually didn't kill a shitload of other people. This was such a ground-breaking concept that Americans have had it as a holiday since, even though the behavior that is being commemorated was never repeated. Of course, that is of little importance anymore, as the history books usually gloss over why Thanksgiving is such an unusual holiday. Either way, it makes me think of that scene in My Blue Heaven where Steve Martin is trying to convince Joan Cusack that Thanksgiving is celebrated in Italy "on account of all the Italians who came here... and were sent back," mentioning "Turkey cacciatore, sweet potato parmagiana!" Makes me chuckle every time.

Musicless for a Spell

Due to a strange turn of events the night before, I didn't have my Nomad with me when I went to work yesterday. This meant that my commuting was much slower than it would normally have been, or at least it felt that way. It really didn't bother me on the train to and from Manhattan, as I was finishing up The Man Who Fell To Earth (as I said, more to come on that later), but in terms of getting to my different jobs, it was kind of annoying.

On the other hand, not having the Nomad with me meant that I was dwelling a bit more on the music that I had been listening to just previous, which was Patrick Doyle's Harry Potter and the Goblet of Fire in the film itself. I was familiar enough with the soundtrack album to better spot the music in the film, including and especially the material that wasn't included on the album, the most prominent of which are the portkey cues and Dumbledore's eulogy for Cedric (that last shot of this scene, the tilt up to reveal the bare cieling of the dining hall, is a very subtle but effective touch).

I also liked another one of his adaptations of John Williams' Hedwig's theme, in this case for a scene in the dining hall. If Harry Potter and the Philosopher's Stone was sort of a cross between Hook and The Witches of Eastwick for Williams, then Harry Potter and the Goblet of Fire would be the equivalent mixture of Much Ado About Nothing and Mary Shelley's Frankenstein for Doyle. Doyle's style is so different from Williams' that I feel that Lumos Musica! still stands as a relevant work. I have to say that it is strange, though, to think about how distinct each composer's voice is, yet how both work well with the respective films in question. As I've mentioned before, Williams' own choices for Prisoner of Azkaban helped pave the way for the introduction of a new composer.

If Doyle or Williams do not return to score any more of these films (though I hope they do), I like the idea of Hedwig's theme being the element that would tie each score to the others, kind of the way that the James Bond theme does in that franchise. I really liked the fact that Doyle's arrangements sound so much like Doyle; I knew that the filmmakers were making a good decision by hiring somebody who has such a particular sound, and I loved the fact that Doyle managed to create something that was both original and yet fit into a larger framework.
Tags: film music
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