25 Songs, 1 Hour

EDITORS’ NOTES

Alexandre Desplat's name isn't familiar to most movie fans. But this engaging score for George Clooney and Grant Heslov’s unusual, true-life WWII adventure ably displays why the French film composer has become a trans-Atlantic filmmakers’ favorite; he has claimed six Oscar nods, as well as Golden Globe and GRAMMY® wins for The Painted Veil and The King’s Speech, respectively. Given a tale that effectively inverts The Dirty Dozen (a disparate band of art scholars and curators are tasked with securing European art treasures from the Nazis), Desplat underpins his mastery of orchestral timbre and far-ranging influences with seemingly prescient emotional restraint. He conjures a jaunty, triumphant title march that also serves as a recurring motif, before interweaving it with cues that effectively color the film’s geographical/historic dimensions and more introspective personal landscapes. Desplat folds it all into the extended, masterfully tempered orchestral “Finale” before Nora Segal closes the score with a warm a cappella rendition of the holiday classic “Have Yourself a Merry Little Christmas.”

EDITORS’ NOTES

Alexandre Desplat's name isn't familiar to most movie fans. But this engaging score for George Clooney and Grant Heslov’s unusual, true-life WWII adventure ably displays why the French film composer has become a trans-Atlantic filmmakers’ favorite; he has claimed six Oscar nods, as well as Golden Globe and GRAMMY® wins for The Painted Veil and The King’s Speech, respectively. Given a tale that effectively inverts The Dirty Dozen (a disparate band of art scholars and curators are tasked with securing European art treasures from the Nazis), Desplat underpins his mastery of orchestral timbre and far-ranging influences with seemingly prescient emotional restraint. He conjures a jaunty, triumphant title march that also serves as a recurring motif, before interweaving it with cues that effectively color the film’s geographical/historic dimensions and more introspective personal landscapes. Desplat folds it all into the extended, masterfully tempered orchestral “Finale” before Nora Segal closes the score with a warm a cappella rendition of the holiday classic “Have Yourself a Merry Little Christmas.”

TITLE TIME

Ratings and Reviews

4.2 out of 5
15 Ratings
15 Ratings
Marv N ,

Amazing!

The music truly makes you feel like your in the time period serving our country, this is truly a master piece!

JackRSkellington ,

A gem...

After being discovered by Hollywood, Desplat went into overdrive. He started doing like 9 movies a year (no exaggeration, when other composers do 2).
Understandably the quality variously fell off, or was at best uneven.
With that said The Monuments Men is a big exception to the constant stream of scores coming out of Desplat's studio.
It's known that Desplat has great affection for Goldsmith's Patton score. Consequently, the main feature of this score is a stately Goldsmithian march.
However, the score as a whole has lots of perfectly suiting invention including great bad guys music for the Nazis, orchestral grumbling for the Russians, and quaint moments like Champagne which are moments for great underscore.
This is a top shelf effort from Desplat.

ualtigger ,

The LSO scores again!

While I am not familiar with all of Alexandre's scores, I AM familiar with the London Symphony Orchestra. Thank you for teaming up together to provide the passion I have come to expect... I got tears and chills at points in the score. Perfectly scored and matched to scenes as usual. But what can you expect from the orchestra that has been moving the world thru music for 100+ years now:-)

More By Alexandre Desplat

You May Also Like