A co-production between Amazon studios and Warner Brothers pictures, THE a motion picture adaptation of author Donna Tartt’s acclaimed novel, for which she won a Purlitzer prize in 2014. She was also awarded the Andrew Carnage Medal for excellence in fiction. The film is directed by award winning filmmaker, John Crowley who also directed the movie BROOKLYN. The story focuses upon Theo Decker who at the age of thirteen lost his Mother in a terrible bomb attack at the Metropolitan Museum of Art, the loss of his Mother causes Theo’s life to alter greatly and affects him in many ways. But throughout all of his grief, turmoil and life he clings to one thing that he holds dear a picture of a Goldfinch that is chained to a perch, which gives him comfort and also hope. The movie has a multigenerational cast which includes Nicole Kidman, Aneurin Barnarad, Sarah Paulson and Ansel Elgort.



The innovative and atmospheric musical score is by composer Trevor Gureckis, the work fuses conventional with synthetic instrumentation, and the composer successfully melds and combines both mediums with ease. The composer studied at Yale School of Music and does not confine himself to writing for film, Gureckis is also a producer and has worked with a variety of artists, including Kanye West and has worked with the likes of Phillip Glass and has written and produced music for concerts. His score for THE GOLDFINCH is a attractive one, with piano being utilised to great effect throughout, it has an overall sound that can be described as being lilting or subdued, but also has a tense mood that sits below the surface which on occasion does become the dominant persona. The composer makes effective use of the string ensemble and bolsters this with an array of electronic sounds and passages which not only support but compliment the symphonic parts of the soundtrack, it is a score that one has to focus upon, so not what I would call an easy listen, in fact at times it is quite involved and complex, but this does not mean it is not a rewarding or an entertaining listen, I personally love scores that are interesting because the composer has orchestrated it in a way that makes us the listener stop and think about what is playing this, or that is an unusual combination, but it works. There is a ominous and dark sound present at times within the score, with the composer enlisting the strings that are supported by percussive elements, but for me it is the piano that creates the more attractive and effective parts, its presence forming a foundation to many of the cues and also purveying a sound that is slightly bitter sweet but at the same time edgy and unnerving. The cue BEAUTIFUL THINGS is well, beautiful, with lavish or lush soaring strings acting as the central elements and a gorgeous piano solo dancing in and out of the proceedings.  This is an interesting work that is original and rewarding.

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