The Post: minirecenze od Thora
OK, had my first listen to this. I like it far better than THE LAST JEDI -- I'm even tempted to say it's my second favourite JW score after WAR HORSE since 2005!
I still haven't seen the movie, so I have no idea what scenes these tracks accompany.
"The Papers" -- shades of PRESUMED INNOCENT, MUNICH and NIXON (all as expected). A surprising presence of pulsating electronics (even more pronounced than the opening of MUNICH). I wonder how much input Williams had in this, or if it was all produced by someone else (Randy Kerber?)? Dark, undulating strings and solemn brass throughout.
"The Presses Roll" -- slightly lighter string ostinato, with brass as occasional punctuation marks. Sounds surprisingly "contemporary" (think Marianelli, Korzeniowski etc.). Gorgeous string harmonies towards the end. Nice track!
"Nixon's Order" -- basically VERY dark, slow string harmonies.
"The Oak Room, 1971" -- sounds like a 'loungey' jazz track with pronounced solo piano and a bass. A source cue, presumably? Very smooth. Could have been an outtake from SABRINA.
"Setting the Type" -- a steady rhythm builds gradually with exploratory string harmonies, almost setting into a STAR WARS-type march on several occasions, but it's always "cut off" before it gets going.
"Mother and Daughter" -- Lovely, melancholic piano. Very delicate with shades of Americana. Eventually strings join in. Beautiful! In the territory of STANLEY & IRIS, THE ACCIDENTAL TOURIST or STEPMOM, although perhaps without the strong melody.
"Scanning the Papers" -- more PRESUMED INNOCENT stylings. Cautious, with circular figures. Not very remarkable track.
"Two Martini Lunch" -- more loungey piano jazz. Another source cue, I presume. Same quality as "The Oak Room, 1971", although more 'improvisational'.
"Deciding to Publish" -- Clearly a pivotal moment in the film. Starts off cautious and suspenseful, slightly dissonant. Then at 1.44, a more steady string ostinato comes in -- still keeping it all eerie. At 2:19, the track grows more busy. The string ostinato picks up its pace. The trademark Williams brass counterpoints emerge, as does the electronic beat. It's not a particularly remarkable track (there is NO melody or theme), but I love the gradual build and "riffs".
"The Court's Decision & End Credits" -- the 'tour-de-force' track. Americana is back, with both brass and strings harmonizing in typical Williams fashion. The rhytmical patterns appear regularly -- Williams' new love of clusters and motifs -- but the vast-leaped Americana melodies are never far away. Some lovely woodwinds here too (oh, how I've missed them!). At about 5 minutes, the faux-march appears for a few moments -- reminiscent of the opening track of NIXON. Superb track! |
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