Thomas Newman. There’s a solid 70% chance you haven’t heard this name, but you have most definitely heard his work considering the wide range of films he has scored. I have a good array of his work on my study playlist, such as the title themes for The Green Mile and Meet Joe Black, but those few songs do not come close to showing his expanse of film scores. I hadn’t even realized they were his work until recently, yet I’ve been listening to these songs for a couple of years now. Sincerest apologies to Thomas Newman, your work is quite brilliant.
When first looking into his stuff for this blog post, I was looking to focus on his Revolutionary Road and American Beauty film scores that prominently feature soft, melodic orchestral features, but that would probably be insulting since he’s also composed the music for Finding Nemo, Wall-E, Spectre, The Help, and that weird movie version of Lemony Snicket’s: A Series of Unfortunate Events.
JUST KIDDING still going to focus on Revolutionary Road and American Beauty, both being poignant dramas that have intricate storylines that I love. The films show elements of real human nature and impulse, while beautifully narrated by wordless compositions of sound. The music is able to move and sway with the changing dynamics of the characters, showing Newman’s true mastering of emotion and ability to portray so much through these combinations of woodwinds and strings. The title song for American Beauty is able to build from its initial low flute tones to gorgeous moments of string portions that layer upon the continuous and sorrowful piano melody. If looking for something to help accompany a nice internal reflection, this song, as well as the Plastic Bag theme from American Beauty is sure to invoke some deep thought.
American Beauty has some brilliantly contrasting musical sequences to go along with the odd transitioning moods conveyed through the showing of the hidden elements in suburbia involving serious drama and absolute cookiness. Quite interestingly, both of these films focus upon what one tries to hide in these housing developments where normality is projected image that hides the turmoils of family. If listening to both musical scores side by side, it is relatively easy to detect great similarity in the compositions.
Thomas Newman has worked on a variety of music scores, but his calming and string instrument heavy sequences are beautifully articulated when looking for a though-provoking music scape.