Artist..........: Alexandre Desplat
Album...........: The Ghost Writer
Genre...........: Soundtrack
Label...........: VarΦse Sarabande
Catnr...........: VSD7007
Source..........: CDDA
Rip.Date........: 11-06-2010
Street.Date.....: 03-03-2010
Quality.........: VBR/44.1kHz/Joint Stereo
Url.............: http://www.amazon.co.uk/Ghost-Alexandre-Desplat/dp/B0034IUL7W/
Size............: 55.97MB
Song.Title :
01. The Ghost Writer 1:40
02. Rhinehart Publishing 0:58
03. Travel To The Island 2:28
04. Lang's Memoirs 1:43
05. Chase On The Ferry 2:30
06. Suspicion 2:49
07. Investigation 2:07
08. Hidden Documents 2:08
09. The Old Man 1:16
10. In The Woods 3:40
11. Prints 1:44
12. The Predecessor 2:28
13. Pr Paul Emmett 5:39
14. Bicycle Ride 1:51
15. Lang And The CIA 2:20
16. The Truth About Ruth 4:54
17. The Ghost Writer (Reprise) 1:49
Runtime: 42:04 min
Release.Info :
Roman Polanski might get tortured by fate, not to mention by the misadventures
that his own hubris has put him through. Perhaps thatÆs why most of his films
subtly delight in black humor, whether it derives from the directorÆs own mind
falling apart as THE TENANT, or from the depraved kinkiness of BITTER MOON. Now
with its off-kilter look at terrorist rendition and political corruption (not to
mention a character whoÆs virtually imprisoned in his luxurious house), THE
GHOST WRITER might stand as the directorÆs most overtly ironic yuckfest of all-
not that any character is laughing out loud, mind you. But as the titular
protagonistÆs discoveries brim over with one gasp after the other, the
breathlessly mordant suspense of THE GHOST WRITER becomes positively jovial in
the hands of composer Alexandre Desplat. After the lethally suspenseful likes of
THE NEST, HOSTAGE and FIREWALL, Desplat at last gets to be serious while not
being serious at all, his music sharing PolanksiÆs humor with a score thatÆs
part homage, while still being very much in tune with the composerÆs own clever
body of work.
And thatÆs just about everything that can be said about Polanski himself here.
The director has certainly worked with some of the filmscoring greats, including
Krzystof Komeda (ROSEMARYÆS BABY), Philippe Sarde (THE TENANT, TESS, PIRATES),
Vangelis (BITTER MOON), Wojciech Kilar (DEATH AND THE MAIDEN, THE NINTH GATE,
THE PIANIST) and Rachel Portman (OLIVER TWIST). But of all of his movies that
involve some sort of conspiracy, Jerry GoldsmithÆs Oscar-nominated film noir
stylings for CHINATOWN are the most renowned. I can dare to say that while
nothing is going to top that classic score, THE GHOST WRITER is a far more
entertaining and clearly comprehensible film with its
ripped-from-the-international-headlines story that gets uncovered by its
vainglorious hero, as opposed to Jake Gittes discovering the nefarious water
re-routing plans of Los Angeles. Yet CHINATOWNÆs jazzy sensibility is very much
present in the clarinet and string vibe that Desplat gives to ôIn the Woodsö and
the percussion of ôThe Truth About Ruth,ö let alone in the jazz flute technique
that gives his main theme a reedy sound in ôThe Ghost Writer.ö ItÆs music that
immediately tips you off to this scoreÆs delightfully off-kilter tone as four
flutists blow with the kind of harmony usually reserved for one musician.
Goldsmith himself would probably be amused by how DesplatÆs updated the jazz
idiom for real world affairs. But what reviews of the film are mostly centering
on is how Desplat pays tribute to the mesmerizing strings and bell percussion of
Bernard Herrmann. While such cues as ôSuspicionö certainly has that composerÆs
famed, eerily romantic quality, thereÆs even more of DesplatÆs admiration for
Ennio MorriconeÆs style on display. First giving a delightful tip of the hat to
the composerÆs Spaghetti Western stylings in FANTASTIC MR. FOX, Desplat now has
GHOST WRITER brimming over with the kind of driving string movements that
American listeners will pick up from such Morricone suspense scores as
DISCLOSURE and THE UNTOUCHABLES û let alone PolanksiÆs FRANTIC. ThereÆs even a
bit of Philip Glass in the undulating, repeating rhythms of ôPrints.ö
But donÆt begin to think that Alexandre Desplat is a copycat as he deals with a
character whose job is to pretend heÆs someone else. For like the best students
of film music, Desplat takes the styles heÆs been so enthused by and makes them
his own. Where Ennio was always Ennio, and Herrmann was always Herrmann, whatÆs
made Desplat so remarkably marketable in both Europe and Hollywood is his
ability to completely switch musical voices, yet have elements in every score
that sharp-eared listeners would pick up on, let alone his many fans. What
distinguishes every Desplat score is his remarkable sense of thematic melody, of
which GHOST WRITER has in spades. Motifs effortlessly flow through his cues here
as one theme picks up on the next, just as one clue leads to the other. They
positively prance about for ôInvestigation,ö snake with strings in ôHidden
Documentsö and tell us the gameÆs afoot after a dark orchestral start in ôPR
Paul Emmett.ö Finally, the paper trail leads to a marvelously lush reveal in
ôThe Truth About Ruth,ö the music a virtual exclamation point to whatÆs been in
front of our ghost writer all along.
ItÆs that musical abandon that really pricks up your ears. For where many
Hollywood suspense scores would be reigned in by pulsing samples, crashing
percussion and indistinct melodies in an effort to be hip, THE GHOST WRITER is a
film, and score outside of that political system. ItÆs the kind of independent
(and literally locked-down) production that gives Desplat the freedom to compose
actual music, notes that arenÆt afraid to be big, brash, and most of all
eccentric. But as Polanski well knows, having a laugh, and being over the top
about very bleak subject matter is often the best way to shine a light on the
material. And the satirically sinister tone that he and Desplat give to THE
GHOST WRITER raise what couldÆve been an average, anonymous read into something
fairly remarkable. And once the scandalÆs over, there will hopefully be more
novels between these two exceptionally well-suited collaborators to come.
Contact : crossfader@hush.ai
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