Tag Archives: Wim Wenders

What’s the Score?


I was listening to Radio 5 t’other day and film critic Mark Kermode was giving a whippersnapper some advice on the best music scores in films.

Of course, all the movies Kermode picked were complete pants. But it did get me pondering how crucial a soundtrack is to a film. And, when done correctly, can infinitely improve a movie from great – to masterpiece.

So, here are my top five. Actually, there are six. Because I couldn’t decide which one of these to leave out.

First up is Betty Blue. Composed by Gabriel Yared and directed by Jean-Jacques Beineix.

 

Next up, Paris, Texas. Composed by Ry Cooder, directed by Wim Wenders.

 

These aren’t in any particular order, by the way. Next is The Piano. Composed by Michael Nyman and directed by Jane Campion.

 

Who could forget The Soggy Bottom Boys? This classic from O’ Brother, Where Art Thou?. Composed by T Bone Burnett, directed by the Coen Brothers.

Aimee Mann isn’t actually credited as the composer of Magnolia. But apart from a Supertramp song at the end, the entire soundtrack is by her. Directed by P.T. Anderson.

I couldn’t resist popping in another masterpiece by Michael Nyman. This time for The Cook, The Thief, His Wife and Her Lover, directed by Peter Greenaway.
All absolutely brilliant movies and worth checking out.
I’m sure there are many more I could’ve chosen. The Godfather springs to mind, as does Jaws.
All alternative suggestions welcome.

 

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Wings of Desire #69/365


Wings of desire, wim wenders

Wings of Desire, By Wim Wenders, my all-time favourite love story.

Starring Bruno Gantz (Damiel) and Solveig Dommartin (Marion) and a brilliant cameo by Peter Falk.

It is about an Angel who falls in love with a trapeze artist from a traveling circus. The slight problem is, she can’t see him.

Angels are all about us. We see them, not in white flowing gowns and wings, but with heavy dark grey overcoats. They walk among us unseen, except perhaps for the odd child, trying to comfort us in our hours and seconds of need.

Damiel’s dilemma is whether to relinquish his status as an immortal angel, who’s been around since the dawn of time, and become a mere mortal human so he can try to woo the girl of his dreams – Marion, the trapeze artist.

Set in Berlin, the film is shot in black and white and colour and is in English, German and French. Everything we see from the Angels’ point of view is shot in black and white, whilst everything we see from human beings’ point of view is in glorious technicolour. Poignant.

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