> I totally disagree on the above points. Do you mean to say that for all > those people who voted for ARR whether it is LA, NY or Satellite they did so > only because they liked SdM and its popularity and Danny Boyle and then as > an afterthought decided to give ARR the award because this guy happens to be > the composer of the movie they love.
I totally agree with Anand. by the way how about The Dark Knight? a movie which grossed some 530 million USD, can there be a more popular movie than that?? but still except the best supporting actor category it is hardly winning (in fact hardly being nominated) in any other categories. given the logic u used it should have been winning in many more categories too. - Jahanzeb --- In [email protected], "Anand Bharathan" <an...@...> wrote: > > Perhaps the recent trend is that if you have a wildly popular film, it will > just drive the critics and voters into having a favorable opinion of it for > the sub-categories too (yes, I do think that ARR's score for SdM is riding > the crest of the movie's massive popularity). > > > > -- there's little or no thematic development (and that's something I could > say for a lot of ARR scores in general). It looks like he's just scoring the > scene. > > > > I totally disagree on the above points. Do you mean to say that for all > those people who voted for ARR whether it is LA, NY or Satellite they did so > only because they liked SdM and its popularity and Danny Boyle and then as > an afterthought decided to give ARR the award because this guy happens to be > the composer of the movie they love. I pity ARR. At a time when the world is > waking up to his talent, there are millions of people from his own country > who still don't believe this is happening. > > > > As for thematic development, let's put it this way. ARR is probably the best > in the Indian movie scene when it comes to it. Can you say there was no > thematic development in Jodha Akbar? Also Hollywood movies are different > from Bollywood. Our movies' score is like a slap on the face, loud and > noticeable unlike Western movies where you hardly hear it. As ARR majority > score is for Indian movies, we just cannot compare it with Western scores > and say it lacks thematic development. Can you give thematic development for > a movie like Sivaji? It is like trying to do Method acting in our movies. We > Indians are loud, colorful, emotional and our music, whether it is songs or > BGM's has to reflect that. And ARR is one of the very few here who > understands every scene in the movie and composes music accordingly. I > respect your opinion but you are backing it up with flawed reasoning, man. > > > > My opinion is only regarding the above points. I will not go on to your > other points as my knowledge on that is zero. > > > > From: [email protected] [mailto:[email protected]] On > Behalf Of Ramesh R > Sent: 17 December, 2008 10:17 AM > To: [email protected] > Subject: Re: [arr] Oscar Watch: Composer > > > > ARR's effort in SdM works great as a combination of songs and score. > Evaluated for just the music score there's not much that stands out for me. > For sure, it supports the movie and the action on screen but does it go > beyond that? And I think I've mentioned this earlier-- there's little or no > thematic development (and that's something I could say for a lot of ARR > scores in general). It looks like he's just scoring the scene. But where is > he really connecting the dots? > > I'd like to think that a good score is something that, in addition to > supporting the movie, introduces certain ideas, toys with them, and develops > them. Cohesiveness is another attribute that I'm looking for. A good score > can provide a subtext or commentary not just on what's happening on screen, > but also on what might happen or where is this going. > > I'm not saying that SdM is a bad score. It's a good soundtrack, and a real > departure for ARR. Latika's theme is lovely-- it represents Jamal's love and > longing and was used to good effect in the end with a summary of the > journey. The action theme (Escape) was another that was put to good use in > the chase sequences. > > I just think that there's not much in it to make the cut for best score when > the field is already rich with some great works this year. Alexandre Desplat > has been in great form this year with strong scores for The Curious Case of > Benjamin Button & Largo Wench. Danny Elfman has Milk & Standard Operating > Procedure. James Newton Howard has The Happening & Defiance. Zbigniew > Priesner has Anonyma. Thomas Newman has WALL-E. Adrian Johnston has > Brideshead Revisited. I'm not just blindly putting these names out. There > are a number of sites (Itunes, Youtube, Amazon) where you can listen to free > clips. > > Anyone remember the Oscar-winning scores of Brokeback Mountain or Babel? > Both were by Gustavo Santaolalla. Both of those were very minimalistic and > sparse with little or no themes. Perhaps the recent trend is that if you > have a wildly popular film, it will just drive the critics and voters into > having a favorable opinion of it for the sub-categories too (yes, I do think > that ARR's score for SdM is riding the crest of the movie's massive > popularity). Or perhaps the critics really do believe in the 'less is more' > philosophy. How else would you explain bewildering decisions like nominating > Clint Eastwood for Best Score for Changeling, or James Newton Howard's > dronish score for Michael Clayton for last year's Oscar? If it's really a > trend then I don't like it one bit and perhaps I'm in the minority here. > > As a parting thought I'll link to the youtube clip of what I consider as > signs of brilliant scoring in recent times. Check out the opening scene to > Birth <http://www.youtube.com/watch?v=-hFO9sA7LsA> scored by Alexandre > Desplat. It's a beauty of construction. There's a delicate repeating motif > with flute followed by the celeste (a Desplat favorite), drones, bass > strings, tympani, romantic violins, horns and a lot more. It does way more > than just scoring the jogging scene. It's proof of why Desplat is rated so > high today. > > RR > > > > > > _____ > > From: sureshmechnit <sureshmech...@...> > To: [email protected] > Sent: Tuesday, December 16, 2008 2:09:23 AM > Subject: Re: [arr] Oscar Watch: Composer > > Hi Ramesh, > > Can you please tell me what should be there in Score to get > nominated? Not to defend Rahman but just curious to know. > > Smile > Sureshkumar. > --- In arrahmanfans@ <mailto:arrahmanfans%40yahoogroups.com> yahoogroups. > com, Ramesh R <triscodeca@ ...> wrote: > > > > So many greats all in one place! Too bad that Thomas Newman > wasn't there. > > An interesting read even though I wish that ARR had spoken more. > He clearly hates the temp-tracking and deadlines! > > I'm not sure why The Visitor is being considered. It's a 2007 > movie. But the Kaczmarek score is excellent as always. > > > > I still don't see what's in the SdM score for it to be nominated > but anyways it's nice to see ARR get recognition like this, and > interact with other greats. > > > > > > > > > > > > ____________ _________ _________ __ > > From: Swapna <swapna.mk@ ..> > > To: arrahmanfans@ <mailto:arrahmanfans%40yahoogroups.com> yahoogroups. > com > > Sent: Monday, December 15, 2008 10:40:08 PM > > Subject: [arr] Oscar Watch: Composer > > > > > > http://www.hollywoo dreporter. com/hr/content_ display/film/ > news/e3i728e28ad f80ba3aae5c37a6b d621de8e > > _ > > >
