Music obviously has great power to move, and when used well by a filmmaker integrates seamlessly with visuality, narrative and performance. Too often though, music is resorted to in post production when one more of those other aspects are lacking. Music has an additional practical attraction to film producers: the soundtrack can be monetised and sometimes even functions as a marketing resource for the film. Film soundtrack recordings also a valuable ‘side gig’ for orchestras that have high fixed costs.
Here are several influential soundtracks that also get us thinking about ambience, the role of music in the ‘experience good’ that is a film, and in perpetuating the sentiments of a film in daily life for an audience having the soundtrack.
Shigeru Umebayashi’s wonderful work for Wong Ka Tai’s In the Mood for Love..
Which in turn greatly influenced the aesthetics of Tom Ford’s first film, and which also featured Umebayashi, together with Abel Korzeniowski..
The trailer again, in widescreen proportions:
ZEMI * Christopher Pokarier 