The Player


Colosseum (4005939536626)
Varèse Sarabande (0030206536621)
Película | Fecha de estreno: 28/04/1992 | Estreno de película: 1992 | Medio: CD
 

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# Pista Artista/Compositor Duración
1.Funeral Shark1:02
2.St. James1:02
3.Six Inches of Dirty Water1:41
4.Main Title1:45
5.Rose's CafeAkio Ushikudo1:39
6.Icy Theme2:30
7.That's All He Wrote Thomas Newman and Ralph Grierson2:48
8.Schecter Bros.1:23
9.Sex3:16
10.Desert Drive1:15
11.Tema Para JobimJoyce and Milton Nascimento4:33
12.The Graduate Pt.2:20
13.Lineup1:16
14.Good Dog's Water2:39
15.Detective DeLongpre1:11
16.Silent NightJack Lemmon0:28
17.Opening 31:05
18.Griffin's Plan / Let's Begin AgainBrian Tochi0:51
19.The Player3:06
 35:49
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The Player - 06/10 - Crítica de Tom Daish, Publicado en (Inglés)
It's often difficult to know what to make of Thomas Newman scores, they can be so eclectic and offbeat that trying to sum up any coherent comments about them is often tricky. The Player is one such score, where no two tracks are alike and very few are even similar. The film is from director Robert Altman and is one of his finest, if less famous films. Tim Robbins stars as a paranoid Hollywood executive, in a biting satire about the industry, much as Altman's Pret á Porter did for fashion and modeling. As well as a satire, it's something of a thriller and so there are elements of tension, albeit in a rather low key kind of way. The abstract piano melody of Icy Theme sums it up nicely, it's certainly not the kind of tune that leaves you humming cheerfully afterward.

A lot of The Player is somewhat abstract, I'm hesitant to call it atonal as there is usually enough grounding in a particular key for it to feel centred, plus there's often a backing bass line to hold it together. A prime example is the surreal That's All He Wrote, which mixes wild sax solos, with various noises, percussion and a revving electric hand drill (a sample Newman later used for a memorable scene in American Beauty). Sex sounds like a drummer improvising a percussion solo with unusual samples overlaid, certainly an unusual accompaniment to such activities. Even the more normal sounding passages have unexpected elements; Schecter Bros. is ostensibly a selection of shifting string chords, but Newman more unusual samples are applied to turn a quite pleasant, low key track into something rather odd. Only the titular final cue is resolutely 'normal' with all the ingredients for a big pastiche, orchestral, Hollywood ending

The cues not by Newman are generally sufficiently curious enough to fit right in with the rest, particularly the very odd performance of Rose's Café, although Tema para Jobim is a sultry jazz number, with clean, but pleasingly husky vocals from between Joyce and Milton Nascimento. The Player represents Newman at some of his most inventive and weird, but the tone feels more light hearted than usual. A good deal of it is amusingly unexpected (or unexpectedly amusing), most of the strange parts not being quite as intense or impenetrable as some of his more serious efforts. Still, a difficult album to recommend, but fans of Newman doing ultra quirky won't be disappointed.

Otras versiones de The Player (1992):

Player, The (1993)


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