血色入侵 Let The Right One In - 電影配樂

血色入侵的樂評
轉貼自http://buysoundtrax.com/larsons_soundtrax.html
這是我聽過Johan Söderqvis的最佳最品
之前的變奏曲讓我快悶死了
這張旋律很美，管弦樂也很豐富
一掃先前變奏曲的陰霾！
是一部很浪漫的作品！


Tomas Alfredson’s Swedish horror drama Let the Right One In (Låt den rätte
komma in), a striking vampire love story, has won over a dozen international
film awards, including top honors at the Tribeca Film Festival, Woodstock,
and Sitges. Following the US premiere of the film on October 24, MovieScore
Media has released the orchestral score by acclaimed Swedish composer Johan S
öderqvist (Things We Lost in the Fire, Brothers, After the Wedding), who has
crafted a very personal score that juxtaposes elements of melodic beauty with
dark and ominous textures (including the use of the unusual instrument, the
bass waterphone). “Writing the music for Let the Right One In gave me a
rare opportunity to write a score that consists of both darkness and light,”
the composer said. “The filmmakers weren′t looking for your typical
horror soundtrack. The most important quality of the music in this film had
to be melody and harmony, so even if the overall tone of the film and the
score is dark and atmospheric, there is always a sense of hope and beauty.”
Söderqvist’s score floats in the air like a crystal fog, a fluid mélange
of melodic tonality that wafts down like freshly laundered bedsheets to give
the film a soft and comforting atmosphere that belies its dark underbelly,
just as the love story betwixt boy who meets girl, boy falls in love with
girl, girl happens to be a vampire which complicates matters, glistens with
its own airy lightness above its romantic yet dark underbelly. “Eli’s Theme
” supports the loveliness of the girl’s character through a lilting theme
for violins, rich in the passion for life and love; while darker moments are
supplied by keyboards and lower ambiances, while “The Slaughter,” “Hiding
the Body,” “Giving Up,” “Spotting a Victim,” and others don’t so much
waft as lay down a pervasive and weighty gloom through its low register and
sustained tonalities, dealing as they do with the darker elements of Eli’s
character. The boy, Oscar, is given a pensive and slowly-awakening motif for
solo piano, reflective of his growing and very personal affection for Eli;
eloquent strings embolden the cue, “Oscar in Love,” midway through. The
same motif recurs for a wholly different feeling in “Death of Håkan,” the
solo piano here resolute and lost in sorrow, reflectively reverbed. “The
Father” provides a variation on Eli’s Theme for solo acoustic guitar; “
Virginia Wakes Up,” provides a cool eeriness through reflective tonality and
exuding textures; and, at 5:49, the titular track, assembled for the End
Titles, provides a pleasing recap of the score’s more benevolent nuances. A
very nice score, rich on pervasive atmospheres and compelling melodic
phrasing, effectively preserved.

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And in the dark times, Will there be singing?
There will be singing. About the dark times.
--Bert Brecht
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