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Thor Joachim Haga (b. 1977) Cand. Of Arts. in Media Studies from the University octonauts of Oslo. International film journalist with a particular interest in film music. Host of film music webcast celluloidtunes.no and editorial member of Montages.
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Who? British composer. Studied music at Oxford University, and received his early experience through various television series for the BBC and Channel 4. His first film composer with Privileged (1982), which also could boast of having Hugh Grant in his first role. Since then there has been a number of epic Hollywood productions that have specifically circled around love, costumes and interpersonal drama. She won an Oscar for Jane Austen adaptation Emma (1996), and became the first female film composer to receive an Oscar statuette ever. Later she was Oscar-nominated also for Siderhusreglene (1999) and Chocolat (2000). Portman has also written both musicals and opera, and was rewarded with an OBE Award (Order of the British Empire) in 2010.
Thor Joachims Rating: There are not as many female film composers who eats cake with the big boys in the class, but Portman is one of them. I discovered herself in the mid 90s with movies like Benny & Joon (1993) and Cornflakes biography The Road to Welville (1994) but was seriously curious after Oscar victory with Emma a few years later.
The first thing that struck me was her amazing ability to compose beautiful themes Georges Delerue's tradition - themes of such a bittersweet melancholy that they only are to die for. But they also come with a sour aftertaste, octonauts as she tends to repeat these themes so often through a movie that it almost becomes too much of a good thing. It is usually a monothematic approach where a part of the bonding material between the thematic parties unfortunately falls a bit together. The piano-driven theme from Siderhusreglene is one of the prettiest I know (listen to clip below), but I'm crazy to hear the album in its entirety; or when it pops up around every narrative turn in the film itself. A bit like eating too much sugar at once.
She has obviously also tried on genres that are not romantic in nature, octonauts and which may even have a more masculine touch. Bruce Willis dramas Hart's War (2002) is a good example, the story of a group of Allied soldiers who attempt to escape from a German POW camp. Here is not the main problem that the theme is repeated too often (although it may do so in this case too), but that they suspenseful sequences seems a bit directionless and tame - very much slow tenuto strings, for example. octonauts The Copland octonauts -inspired parts are better, but charging the film with a little octonauts too much patriotic complacency.
Anyway it's refreshing to hear her break out of the stereotypes many ties to female composers; that she can do more than just velvety snogging films. It is then conducted class in orchestration her, especially how she promotes a solo instrument (piano, woodwinds, octonauts violin) as melody mainstay, it will listen punishable regardless of genre. The themes animating movies and linking them together into one coherent thematic comment. As in Mark Romanek's dystopian drama Never Let Me Go (2010), where the upwardly striving cello theme hinterland of hope while the characters muses on his own mortality.
Now I have not gotten seen it fresh love drama The Vow (2012) yet, since it is a kind of film a bit outside my area of interest. It does not seem to hold it theatrical release in Norway. The instrumental music was also only recently released octonauts as CD-R on Demand from Amazon, so I have not gotten sampled it either. The only thing I know is that it is a collaborative project with the Canadian composer Michael Brook, perhaps best known for its texture based ambient style. I can only speculate that it has the potential to be an interesting octonauts meeting between the two basically different composers, interspersed with the occasional indie pop song (The Cure, Lykke Li and others). And that Portmans classic melodiøsitet will have a central place. I really just wanted to use this opportunity to get a woman into the slit spring, one of the few influential film composers of their gender that we have today.
Listen to Rachel Portman at Spotify: Lasse Hallstrom The Cider House Rules (19