And I love the diversity of the soundtrack, which brings in everything from lutes to a men’s chorus to sand-shakers to strings in an attempt to round out a simple theme in a wide variety of ways. I love the way Desplat weaves a few repeated themes in and out of the whole soundtrack, mirroring the way the story takes place in multiple timelines, but still follows certain parallel themes throughout. But there’s a touch of frantic self-parody to the intensity that suggests that even while the characters are taking their adventures extremely seriously, we probably shouldn’t. But I guess if I have to pick just one, I’d go with Alexandre Desplat’s score for Wes Anderson’s “ The Grand Budapest Hotel.” Like many of these other scores, it’s driving and intense, suitable to the sometimes manic action onscreen. There are some really striking contenders out there, topped by Susumu Hirasawa’s manic, bouncy score for Satoshi Kon’s anime phantasmigorica “Paprika,” the terrifically intense Disasterpiece score for David Robert Mitchell’s creepy horror film “It Follows,” and Ennio Morricone’s partially reclaimed, intensely driving old-school score for Quentin Tarantino’s “The Hateful Eight.” And then there’s the beautiful, mournful song selection T-Bone Burnett put together for the Coen brothers’ “Inside Llewyn Davis,” and all the hilarious original folksongs in Christopher Guest’s “A Mighty Wind,” one of my favorite soundtracks of all time. With that in mind, we asked our panel of critics to name their favorite film score of the 21st Century.
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It’s just the latest indication that we’re living in a fascinating, vibrant time for movie music, and December boasts a number of films that will only add more fuel to that fire. Last Friday saw the release of Garth Davis’ “Lion,” the musical score for which is the gorgeous result of a collaboration between two giants of the neo-classical movement, Dustin O’Halloran and Hauschka. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
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Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday.
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