( Log Out / So, the best way to experience all this is on the soundtrack, but as I said before your appreciation for it will depend entirely on your tolerance for musical abstraction, vivid electronic manipulation, relentless percussive rhythms at the expense of melody, and occasionally overwhelming volume. And, had I only experienced Tenet in the context of the film, that would likely be my reaction too. With Tenet, however, Nolan has delved into these concepts more deeply than ever before, creating a film that examines the notion of time from a physiological point of view, introducing theories as complex as statistical mechanics and thermodynamic entropy into a large-scale action spy thriller. Change ), You are commenting using your Google account. Was Nolan und Göransson da in den Kinosaal gebracht haben, verdient die Wertung Meisterwerk. Every lead character mumbles incessantly, they have their dialogue muffled by masks and respirators, and when they don’t have them on the sound mix favors effects and music to such a degree that you either can’t hear the dialogue anyway, or you are distracted by the fact that the cinema speakers are making the occipital lobe of your brain vibrate like a washing machine on its most violent spin cycle. Now, I’m a pretty intelligent guy; 99% of the time I can follow the most complicated plots, and the most devious character motivations, without much difficulty. It’s use in relation to Branagh’s character makes him seem scarier and more intimidating, which was probably the point, and as a gimmick it works very well. Release als ausschliesslich mp3 ist m.E. The finale of the film – and the score – as I mentioned earlier, takes place on a disused former Soviet ‘closed city ‘ above an old radioactive mine, where Sator has placed the main device that makes inversion possible, and which could destroy the world if it explodes. September 2020. It uses samples from Göransson’s score, including the intense thunderous bassline from the “Rainy Night in Tallinn” cue, and the processed vocal idea from “Trucks in Place,” both to excellent effect, making it feel like an integral part of the music rather than an incidental afterthought. ( Log Out / To me, this is another clear failure on the part of the screenwriters, who have become so wrapped up in their own cleverness, so obsessed with the technology and the science, and so pleased with themselves at how dense and complicated their plot is, that they have moved into pretentiousness, and forgotten what the basic tenet of filmmaking is: to tell a good story. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Danke ... Rezension aus Deutschland vom 14. This is noticeable especially in cues like “Rainy Night in Tallinn,” “Trucks in Place,” “The Algorithm,” and “Inversion” – listen especially to the latter pair, when two different inverted versions of the Protagonist fight against himself in both the past and the future. Nolan is a filmmaker with highly specific musical requirements so, even though it was not written by Zimmer, Tenet fits neatly within the same group of scores as Inception, Interstellar, Dunkirk, and parts of the Dark Knight trilogy. Ein neuer " Hans Zimmer" is Born......... Rezension aus Deutschland vom 4. Several subsequent cues continue this idea. Christopher Nolans neuster Film „Tenet“ sollte die Kino-Corona-Pause wieder offiziell beenden. This site uses Akismet to reduce spam. Aufregender und atmosphärischer Bombastscore vom Score-Neuling Göransson! Click to email this to a friend (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Tumblr (Opens in new window), DAVID ATTENBOROUGH: A LIFE ON OUR PLANET – Steven Price, NICHOLAS AND ALEXANDRA – Richard Rodney Bennett, WELCOME HOME ROXY CARMICHAEL – Thomas Newman, The Plan (written by Jacques Webster, Ebony Naomi Oshunrinde, and Ludwig Göransson, performed by Travis Scott feat. IF YOU HAVE NOT YET SEEN THE FILM, YOU MIGHT WANT TO CONSIDER WAITING UNTIL AFTER YOU HAVE DONE SO TO READ IT. The sequence beginning at 1:22 reminds me very much of a harsher, more aggressive version of the electronic manipulation composer Olivier Derivière worked into his score for the video game Remember Me in 2013, where the orchestra and electronics appear to be on two different planes of existence, with one bleeding through to affect the sonic quality of the other. It’s a fascinating, excellent, intelligent application of thought process to his score, but the problem is that in film context none of this comes across, again due to the sound mix. The piano is prominent in these cues more than others, and the main theme which I alluded to earlier is given a more prominent role. indiskutabel. Ludwig Göransson’s original score is the final cog in this wheel of auditory despair, booming and pounding away with a relentlessness that is compounded by the sheer number of decibels. The dual concepts of time and reality have been at the forefront of Christopher Nolan’s films almost since the very beginning of his career, when his sophomore effort Memento in 2000 explored the life of a man with no short-term memory by essentially running the movie backwards. That sounds like a joke, but it’s completely true. Quite why Nolan thinks that this is the way people want to experience films is beyond me; I spent a lot of its running time grimacing in actual, physical pain as the inside of my head shook in time with the bass notes emanating from the theater speakers. Jóhann Jóhannsson did something similar to this with his score for Arrival to convey the concept of the alien language in that film, but on Tenet Göransson’s inspiration is the so-called ‘sator square,’ in which five Latin words (sator, arepo, tenet, opera, and rotas), are arranged as a two-dimensional palindrome within a quadro-symmetrical shape. I usually detest any type of hip-hop, but there is something fascinating about this song. The stunt work, fight sequences, action sequences, and driving stunts, are all magnificent, some of the best I have ever seen. Wir haben hier vielleicht sogar einen neuen Michael Giacchino vor uns, der mit seinen frischen und starken musikalischen Ideen die Filmmusikbranche etwas aufmischen kann. This is especially true of the climactic battle on the ruins of a Soviet ‘closed city’ where entire squadrons of inverted and non-inverted Tenet soldiers are shooting at things, driving at things, and making things explode, without it ever really being clear who (if anyone) is shooting back at them.
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