Dario Marianelli

[hp_gof]

Są pierwsze recki, ale zacznę od pewnego pięknego cytatu, od którego zaczyna się tekst Variety

With all due respect to Christopher Nolan, no filmmaker has captured the evacuation of Dunkirk better than Joe Wright, who evoked the sheer scale of England’s finest hour via a five-minute tracking shot in “Atonement.”

A teraz do rzeczy:

Dialing things back from his relatively garish adaptations of “Anna Karenina” and “Pan,” this more elegant film’s style brilliantly marries the classical with the cutting-edge, relying on regular composer Dario Marianelli and his swirling, march-like motifs for much of its energy.

http://variety.com/2017/film/reviews/da ... 202545711/

Production values are solid, although Dario Marianelli’s score is intrusive in many instances, laying on the obvious when less could have been more.

http://www.hollywoodreporter.com/review ... ew-1034823

But the MVP here, the one person who’s able to hold the movie together despite all the dodgy bits in its latter half, is composer Dario Marianelli. Wright’s go-to guy has delivered some stunning work for the director in the past, but his score for “Darkest Hour” is a rare thing of beauty. Throbbing with vigor one moment, tumbling pianos towards despair the next, and then eventually entwining those disparate modes together into the cathartic bombast that accompanies Churchill’s famous speech (“We shall fight on the beaches…”), Marianelli’s music holds the film together, and the people of Britain along with it. At least until Churchill can find his rhythm and take things from there.

http://www.indiewire.com/2017/09/darkes ... 201872512/

This is the fourth Wright and Dario Marianelli have worked on (Marianelli won an Oscar for “Atonement”) and while it may not be as distinctly memorable as their previous collaborations the Italian composer contributions cannot be discounted.

https://theplaylist.net/darkest-hour-re ... -20170902/

A więc jest ok. Oldman ma niemal pewnego noma, a może nawet i Oscara.

Tu jeszcze taka entuzjastyczna opinia (Mareł się ucieszy):

Spoiler:

[Wawrzyniec]

Piszą o nim jako "Italian composer?"

[Paweł Stroiński]

Bo jest Włochem, który do Anglii się przeniósł.

[Adam]

Wawrzyniec się chyba dziwi, że na niego wciąż mówią Polak

[Kaonashi]

[Wawrzyniec]

#TeamDarioMarianelli


Sequel Paddingtona:
http://filmmusicreporter.com/2017/09/11 ... dington-2/

[Adam]

Darkest Hour - CD - Deutsche Grammophon - 17.11.2017

[hp_gof]

Dlaczego nie zakładasz oddzielnego wątku? Bo uważasz, że #TeamDarioMarianelli nie będzie dyskutował?

[Adam]

bo już z niego nikt nie został na forum poza Tobą

[Wawrzyniec]

Meanhwile at #TeamDarioMarianelli headquarters:

[Adam]

jaki kompozytor taka rzesza fanów

[hp_gof]

Kompozytor wybitny i hambitny! Dziękuję za komplement, Adamie

[Paweł Stroiński]

Skoro, poziom kompozytora jest równoznaczny z tym, czy ma tematy czy ich nie ma, to w tej sytuacji temat Tylera jest do usunięcia.

[Mystery]

1. Windsor Gardens (4:03)
2. The Pop-Up Book (1:29)
3. A Shave, Sir? A Light Pomade (1:54)
4. Window Cleaning (3:15)
5. Rub and Scrub – Tobago and d’Lime (2:27)
6. The Book Is Stolen (2:21)
7. A Letter from Prison (2:20)
8. It’s Only One Red Sock (1:24)
9. Madame Kozlova’s Story (1:19)
10. One Orange at a Time (3:03)
11. An Unusually Attractive Nun (1:19)
12. Marmalade Chefs (1:22)
13. Love Thy Neighbour – Tobago and d’Lime (2:05)
14. The Break-In (3:24)
15. Jungle Jail (2:14)
16. Escape Waltz (3:27)
17. Lost and Found (3:09)
18. Race to Paddington Station (1:34)
19. The Steam Trains (3:46)
20. Bullseye-Henry (2:04)
21. Splash (2:22)
22. Happy Birthday Aunt Lucy (3:34)
23. Jumping the Line – Tobago and d’Lime (5:31)

10 listopada

[Kaonashi]

#TeamDarioMarianelli