The score to this beautiful movie (released as All About My Mother in the U.S.) was composed by Alberto Iglesias and recorded with the City of Prague Philharmonic under the production of Lucio Godoy. The haunting music leads the perfect mood to the film, which received critical acclaim at the Cannes Film festival and elsewhere.
Nominated for both a Grammy and an Academy Award, the soundtrack combines lush, reflective incidental music with mid-20th-century big-band compositions, and Isham skillfully integrates these themes as they relate to the contrasting lifestyles of the film’s central characters.
The Detroit Escalator Co. is the project of Detroit native Neil Ollivierra. Long before he released his first album in 1996 he was part of that city's early techno scene, often hovering in the background including a stint as manager of Derrick May's iconic label Transmat which released a string of definitive club techno records in the late 80's and 90's. Both Soundtrack 313 (1996) and Black Buildings (2000) are quietly stunning works of gorgeous, haunting ambient techno. Although sparse, Ollivierra's music has great depth. Some of the clean, glistening melody lines hook you straight away, others only start to sink in with repeated listens…
For better or worse, Andrew Lloyd Webber's adaptation of Gaston Leroux's gothic horror/romance novel has done for stage musicals what Spielberg's Jaws did for fish stories, with worldwide sales of its original cast album approaching 25 million. While director Joel Schumacher's film turns on his typically ambitious visual verve, its new film soundtrack recording has been paradoxically focused in scope, yet beefed up dynamically via the brawny presence of a hundred piece orchestra and The London Boys Choir. This double-disc version showcases all of Phantom's songs, with Gerard Butler imparting a welcome, youthful sensuality to his Phantom, making a fine foil for Emily Rossum's ever-conflicted Christine. Original show orchestrator David Cullen has fashioned compelling new contemporary arrangements to frame Webber's songs–which now conclude with the lilting, upbeat new ballad he wrote for the film, "Learn to Be Lonely," sung by Minnie Driver's Carlotta.
This German battlefield drama, released on the occasion of the fiftieth anniversary of the climactic 1943 defeat of the Nazi forces at Stalingrad in Russia, does not paint a pretty picture either of war itself or of the Germans fighting in that war. Out of hundreds of thousands of previously victorious German soldiers who took part in this most crucial battle of WWII, a mere six thousand ruined men survived. Today, the word "Stalingrad" is used by Germans to signify any particularly ruinous reversal or defeat. In the story, the lives of several German soldiers are followed as they are transformed from arrogant and victorious killers into demoralized cowards who will do anything at all in order to survive, usually without success. Due to a political climate of resurgent sympathy for the fascists at the time this film was made, is was particularly important to the filmmakers to show the soldiers as lacking any shred of military dignity or real courage. Thus, though this big budget, well-made film did well in Germany, its lack of any truly sympathetic characters made it less popular elsewhere.