I like the music from Order of the Pheonix and Azkaban most I thinkFeel free to share your favorite movie soundtracks or the one you are listening to right now.
I will start with mine.
A New Beginning - Harry Potter and the Deathly Hallows Part II
Yeah, unfortunately, that channel - Navin Mozart - was deleted by mottai's team. Most of them are gone. And while some have been reuploaded, I shudder to post them anywhere lest one of Raja's spies delete it.Dei, Dolgo, your videos are unavailable da. I read somewhere that he was ranked No.9 among film composers of all time.
I also read on the Internet that many composers these days are ripping off music internally and externally in the name of sampling.
It's a scandal YT doesn't seem to have a single clip of the heartrending ending to A.I. Even though several old snippets from the movie are still up I can't imagine there's been a complete lack of interest in the (widely misunderstood) finale, so I can only blame Warner for its own lack of foresight.*You might be surprised to see A.I. included in there, but I do think it's JW's most underrated score, much like the film itself though that's thankfully beginning to change. Take the much-maligned ending which struck many viewers, including yours truly at first, as cloyingly sentimental (alas I can't find a single clip on YT - looks like they've been taking it down as soon as it's uploaded), but as James Naremore has suggested in his book On Kubrick the viewer here isn't just weeping for the death of David's "mother," but also possibly that of humanity, photography and cinema itself. And as Spielberg himself has pointed out that wasn't Spielbergian mush wreaking its usual havoc but in fact Kubrick's own vision:
It's a deeply fatalistic vision, but one which I think has more to say about our current times than any other 21st-century cinema so far as the digital seems to take over the human and we're increasingly programmed to behave in certain ways dictated by our so-called identity which we may or may not adopt of our own accord.
And it wouldn't be able to exert its full power without Williams' suitably lavish score. Here's "The Reunion" which of course accompanies David's final day with his real/imagined mother:
If a soundtrack is to be judged by how it not only enhances the film but forms an indispensable part of the overall architecture then all of the above pass the test with flying colors (or is that sounds?). And the latter two show that it doesn't have to take a blockbuster budget to produce a first-rate OST. Here's hoping budding filmmakers take notice.Since we're winding down let's end on a note of rejuvenation for the categories that need it most. I'm talking, of course, about Original Score and Original Song, both of which the majority of pundits seem to agree were particularly weak this year.
I've already named what should've won the latter category with updated criteria, an originally utopian counterculture anthem that's repurposed from the ground up into a defiantly clear-eyed lament for displaced (black) communities. Here it is (again), embedded this time:
No other single piece of music I heard in a movie theater last year came even close to leaving such a mark on the audience, but what about for a whole movie? While I still think The Last Black Man in San Francisco boasts a fantastic score which would've been a worthier winner than any of the actual nominees this is again where we need to break free of our rigidly circumscribed notion of what counts as "original" film music. Or to paraphrase Duke, if it sounds like film music, it is film music, lack of orchestra be damned. And in that spirit I now present the new best "Original Score," for Kirill Serebrennikov's exhilarating samizdat-bacchanale Leto (Summer):
For the record I still wish Serebrennikov had turned his film into a no-holds-barred middle finger at systems of oppression everywhere, but what we still have, for all its tentative yearning, is such an exuberant celebration of life it feels almost churlish to complain. So do check out the complete soundtrack, but don't forget about the film and especially its musical fantasy interludes that like its "San Francisco" counterpart transform the stodgy and familiar into the fresh and adventurous as the best film music should.