CLASSIC .. brazil Brazil's score is classic because it takes a theme, applies it almost universally to the film, and modifies it ad nauseam based on context. This theme, however, is based on a well-known song, thereby creating a new layer of references and associations. It's also a good example of taking something familiar and giving it a new slant. It does so using conventional orchestration. "Perhaps the simplest description of Kamen's music would be eclectic pastiche. The main theme is based on a song, Aquarella Dos Brasil, by Ary Barrosso and Kamen transforms it through dozens of dramatic variations. These range from samba to melodrama to melancholy to heroic - it's a surprisingly malleable melody and Kamen's endless way with orchestration and musical styles pushes the theme beyond its original intent." "In BRAZIL, Michael Kamen achieves what few composers in any medium have done: fuse a stunning variety of forms (ranging from symphonic to jazz to 30's pop), stuff them with allusions (everything from Maurice Ravel to Woody Woodpecker) - and make the final result as gloriously, giddily romantic as it is heartbreaking." -liner notes "I must say I helped unwittingly to contribute I think in an adverse way to the film. The score is beautiful and elegant and stylistically correct and all of that, [but] it's too detailed. Terry made a film that is so crenalated and crusted with gold leaf and florid curlicules of design that the music could have helped the film by being a little more stark, a little less baroque, a little less Period of Enlightenment. I think I was so motivated to be part of that rich tapestry that I didn't step back enough and just play a single note and allow the film to blossom on its own. It was an intense barrage of images and an intense barrage of musical images." |
composer: Michael Kamen
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