laohu
12-22-2014, 09:05 PM
Alexandre Desplat - Julie & Julia (2009, FLAC)
1. Julia's Theme (02:13)
2. Julie's Theme (02:24)
3. Great Big Good Fairy (00:38)
4. The Original French Chef Theme (00:23)
5. Starting Out (02:45)
6. What Should I Do? (01:34)
7. Eggs (01:10)
8. Psycho Killer (04:22)
performed by Talking Heads
9. A String of Pearls (01:28)
10. Mes emmerdes (03:08)
performed by Charles Aznavour
11. Time after Time (Instrumental) (02:06)
12. Burning the Stew (00:57)
13. Leaving Paris (01:36)
14. My Husband Left Me (01:29)
15. Stop the Train (03:01)
performed by Henry Wolfe
16. A Bushel and a Peck (02:49)
performed by Doris Day
17. The New York Times (02:38)
18. Boeuf Bourguignon (01:54)
19. Julia Hates Me (02:18)
20. Last Supper (01:17)
21. Time after Time (03:14)
performed by Margaret Whiting
Manufactured on demand by Amazon using CD-R recordable media.
https://mega.co.nz/#!mpR0iK6Z!wpShYXuOPqvayeqjbwmO6dSiN3OwRD5tVGgKbCC YQSk
http://s06.flagcounter.com/count/CrnZ/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_190/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/CrnZ)
---------- Post added at 08:05 PM ---------- Previous post was at 08:05 PM ----------
Julie & Julia: (Alexandre Desplat) Start writing online and you never know who might denounce you. In the case of young blogger Julie Powell in New York City during the 2000's, her documenting about her adventures in cooking each of the recipes in Julia Childs' famous "Mastering the Art of French Cooking" in a single year led to not only to national attention (and a book of her own about the experience), but also condemnation from a 90-year-old Childs herself, who reportedly considered Powell's actions to be a mere publicity stunt. Nevertheless, Powell's experiences made her one of the most famous bloggers in Internet history, and her book adapting those blogs is the subject of one half of veteran "fluff film" director/producer/writer Nora Ephron's 2009 hit movie Julie & Julia. Childs' autobiography was the source for the other half of the film, and the narrative switches between the 1950's and 2000's New York and Paris settings to follow both the cooking and personal aspects of the two women's lives. Praised widely for Meryl Streep's entertainingly accurate portrayal of Childs, Julie & Julia turned into a surprising success for Columbia, more than tripling its budget in box office returns after a wave of positive reviews and other press. Composer Alexandre Desplat was a natural choice for the assignment of Julie & Julia, which utilized its original score in between the high profile song placements typical to Ephron's most well known films. Desplat was in the midst of a period of light dramatic writing during a busy year of production, and his enthusiasts often lump this score in with its equally lightweight siblings of that summer, Cheri and Coco Avant Chanel. Interestingly, despite Desplat's multitude of Hollywood projects in the late 2000's, the French composer rarely truly allowed the sensibilities typical to French film music to enter into the sound of his scores. His own personal style of writing may represent certain elements of European writing for some listeners, but in terms of stereotypical accordion-led French film music, Julie & Julia marks something of a departure for Desplat. Because of the two distinct halves to the narrative of this film, however, the composer was only able to truly identify that sound with Childs' location, relying upon more contemporary tones to represent Julie in New York. Like any skilled composer should, though, Desplat blends the two halves of his score as the younger woman gains confidence in working with Childs' recipes. The result is predictable but charmingly innocuous and ceaselessly pleasant.
Although the score for Julie & Julia does clearly establish the two individual themes and character sets for the two leads, Desplat maintains a consistent tone and familiar mannerisms in all portions of the work. Most of the techniques that endear the composer to his loyal fanbase are utilized here once again, from the perpetual application of light rhythmic movement to the use of woodwinds in roles normally reserved for percussion and, most importantly, an attention to detail in creative orchestrations. The passing of melodic and rhythm-setting duties between strings, piano, and woodwinds is especially notable. A cheery attitude also carries over from other Desplat scores, though it's especially saccharine here. Specialty instrumentation begins with the aforementioned accordion, applied with taste as to not overwhelm the soundscape in ways that instrument can. For the New York setting, Desplat adds very discrete synthetic pulses (not the deep throbbing ones that ruin some of his scores, thankfully) and electric guitar that strums like its acoustic counterpart. Soft xylophone tones vary between the settings, tingling high-pitched representations of Paris translated to much lower registers for New York. Brass performances are rare, but they do accentuate the waltz-like movements of Childs' theme at times (as in "Leaving Paris"). The two themes are conveniently conveyed immediately on the album release, originally careful to stay true to their native instrumentation. As the score progresses, Desplat begins to merge phrases of the two themes and pass them between the instrumentation originally intended for the other woman. This is especially evident in the bleeding of Childs' theme into that of the contemporary blogger. The range of emotions is covered well in the transition from the solemn solo piano interlude in "My Husband Left Me" to the score's most bubbly expression of joy in "The New York Times." A humorously downbeat moment in "Julia Hates Me" is a natural conclusion to the merging of the two halves of the score before the final statement of Childs' waltz-like theme in "Last Supper" wraps things up with gusto. Desplat wrote an introduction to the song "Time After Time," heard as the unofficial cue "Blog Ends" at the start of the album's second use of that source piece. The song placements on the Julie & Julia album (primarily a download-oriented product offered on CD by Amazon.com's "on demand" service) are easy on the ears but do distract from the overall experience of the score. On the whole, this is a breeze of a soundtrack that extends beyond the usual primary appeal to Desplat collectors to reach a mainstream audience interested in a safe musical souvenir from the film that overflows with cheer.
in Filmtracks
1. Julia's Theme (02:13)
2. Julie's Theme (02:24)
3. Great Big Good Fairy (00:38)
4. The Original French Chef Theme (00:23)
5. Starting Out (02:45)
6. What Should I Do? (01:34)
7. Eggs (01:10)
8. Psycho Killer (04:22)
performed by Talking Heads
9. A String of Pearls (01:28)
10. Mes emmerdes (03:08)
performed by Charles Aznavour
11. Time after Time (Instrumental) (02:06)
12. Burning the Stew (00:57)
13. Leaving Paris (01:36)
14. My Husband Left Me (01:29)
15. Stop the Train (03:01)
performed by Henry Wolfe
16. A Bushel and a Peck (02:49)
performed by Doris Day
17. The New York Times (02:38)
18. Boeuf Bourguignon (01:54)
19. Julia Hates Me (02:18)
20. Last Supper (01:17)
21. Time after Time (03:14)
performed by Margaret Whiting
Manufactured on demand by Amazon using CD-R recordable media.
https://mega.co.nz/#!mpR0iK6Z!wpShYXuOPqvayeqjbwmO6dSiN3OwRD5tVGgKbCC YQSk
http://s06.flagcounter.com/count/CrnZ/bg_FFFFFF/txt_000000/border_CCCCCC/columns_4/maxflags_190/viewers_0/labels_1/pageviews_1/flags_0/ (http://info.flagcounter.com/CrnZ)
---------- Post added at 08:05 PM ---------- Previous post was at 08:05 PM ----------
Julie & Julia: (Alexandre Desplat) Start writing online and you never know who might denounce you. In the case of young blogger Julie Powell in New York City during the 2000's, her documenting about her adventures in cooking each of the recipes in Julia Childs' famous "Mastering the Art of French Cooking" in a single year led to not only to national attention (and a book of her own about the experience), but also condemnation from a 90-year-old Childs herself, who reportedly considered Powell's actions to be a mere publicity stunt. Nevertheless, Powell's experiences made her one of the most famous bloggers in Internet history, and her book adapting those blogs is the subject of one half of veteran "fluff film" director/producer/writer Nora Ephron's 2009 hit movie Julie & Julia. Childs' autobiography was the source for the other half of the film, and the narrative switches between the 1950's and 2000's New York and Paris settings to follow both the cooking and personal aspects of the two women's lives. Praised widely for Meryl Streep's entertainingly accurate portrayal of Childs, Julie & Julia turned into a surprising success for Columbia, more than tripling its budget in box office returns after a wave of positive reviews and other press. Composer Alexandre Desplat was a natural choice for the assignment of Julie & Julia, which utilized its original score in between the high profile song placements typical to Ephron's most well known films. Desplat was in the midst of a period of light dramatic writing during a busy year of production, and his enthusiasts often lump this score in with its equally lightweight siblings of that summer, Cheri and Coco Avant Chanel. Interestingly, despite Desplat's multitude of Hollywood projects in the late 2000's, the French composer rarely truly allowed the sensibilities typical to French film music to enter into the sound of his scores. His own personal style of writing may represent certain elements of European writing for some listeners, but in terms of stereotypical accordion-led French film music, Julie & Julia marks something of a departure for Desplat. Because of the two distinct halves to the narrative of this film, however, the composer was only able to truly identify that sound with Childs' location, relying upon more contemporary tones to represent Julie in New York. Like any skilled composer should, though, Desplat blends the two halves of his score as the younger woman gains confidence in working with Childs' recipes. The result is predictable but charmingly innocuous and ceaselessly pleasant.
Although the score for Julie & Julia does clearly establish the two individual themes and character sets for the two leads, Desplat maintains a consistent tone and familiar mannerisms in all portions of the work. Most of the techniques that endear the composer to his loyal fanbase are utilized here once again, from the perpetual application of light rhythmic movement to the use of woodwinds in roles normally reserved for percussion and, most importantly, an attention to detail in creative orchestrations. The passing of melodic and rhythm-setting duties between strings, piano, and woodwinds is especially notable. A cheery attitude also carries over from other Desplat scores, though it's especially saccharine here. Specialty instrumentation begins with the aforementioned accordion, applied with taste as to not overwhelm the soundscape in ways that instrument can. For the New York setting, Desplat adds very discrete synthetic pulses (not the deep throbbing ones that ruin some of his scores, thankfully) and electric guitar that strums like its acoustic counterpart. Soft xylophone tones vary between the settings, tingling high-pitched representations of Paris translated to much lower registers for New York. Brass performances are rare, but they do accentuate the waltz-like movements of Childs' theme at times (as in "Leaving Paris"). The two themes are conveniently conveyed immediately on the album release, originally careful to stay true to their native instrumentation. As the score progresses, Desplat begins to merge phrases of the two themes and pass them between the instrumentation originally intended for the other woman. This is especially evident in the bleeding of Childs' theme into that of the contemporary blogger. The range of emotions is covered well in the transition from the solemn solo piano interlude in "My Husband Left Me" to the score's most bubbly expression of joy in "The New York Times." A humorously downbeat moment in "Julia Hates Me" is a natural conclusion to the merging of the two halves of the score before the final statement of Childs' waltz-like theme in "Last Supper" wraps things up with gusto. Desplat wrote an introduction to the song "Time After Time," heard as the unofficial cue "Blog Ends" at the start of the album's second use of that source piece. The song placements on the Julie & Julia album (primarily a download-oriented product offered on CD by Amazon.com's "on demand" service) are easy on the ears but do distract from the overall experience of the score. On the whole, this is a breeze of a soundtrack that extends beyond the usual primary appeal to Desplat collectors to reach a mainstream audience interested in a safe musical souvenir from the film that overflows with cheer.
in Filmtracks