Donnie Darko


Enjoy Records (751937180227)
Película | Fecha de lanzamiento: 2001 | Medio: CD, Descarga
 

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# Pista   Duración
1.Carpathian Ridge1:35
2.The Tangent Universe1:50
3.The Artifact and Living2:30
4.Middlesex Times1:41
5.Manipulated Living2:08
6.Philosophy of Time Travel2:02
7.Liquid Spear Waltz1:32
8.Gretchen Ross0:51
9.Burn it to the Ground1:58
10.Slipping Away1:17
11.Rosie Darko1:25
12.Cellar Door1:03
13.Ensurance Trap3:11
14.Waltz in the 4th Dimension2:46
15.Time Travel3:01
16.Did You Know Him1:46
17.Mad World - Gary Jules3:07
18.Mad World - Gary Jules3:37
 37:19
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Donnie Darko - 08/10 - Crítica de Atila Paton, Publicado en (Inglés)
Donnie Darko OST

Californian-born composer Michael Andrews was essentially a score track rookie when he was commissioned for the Donnie Darko project, as a primary guitarist, Andrews taught himself how to play the piano in a matter of weeks since Richard Kelly did not want any guitars on the soundtrack. Been said that, the ultimate film mood is dark and a sense of confusion is always present, the scenes are bleak and hazy, almost with a sense of reality distortion but giving hints of reality throughout the movie. As a low-budget production, Michael Andrews was given the opportunity to create something more intimate and ultimately quite simple due to his lack of knowledge depth on piano technique but at the same time a terrific job because scoring a film is primarily about grasping moods and translating them in pieces of music, using cues that will solely relate to the film just by the first note is another great skill that only a few film composers have, for instance Liquid Spear Waltz is somewhat so intricately linked to Gyllenhaal’s Donnie Darko that is possible to see him walking is slow motion just after hearing the piece for a few seconds.
The sensation of manipulation and psychosis is also spread out on the soundtrack, the sounds are ethereal but at the same time enigmatically shadowy with different dynamics applied to inculcate an awe feeling and match up the screen weirdness. Andrews pulled out a good job also by picking up some plot subtleties and creating themes for them, like Cellar Door and Time Travel. Nonetheless, Mad World is his gem with friend-collaborator Gary Jules turning the pop song into a completely dark and bleak, somewhat pitiful message matching up with Donnie Darko’s character that is pretty much an outsider which do not fit in, socially awkward but yet incredibly observant and quick-witted. There is no Donnie Darko theme as a title but Jules and Andrews’ Mad World version is definitely that nail-piece. Michael Andrews also created the creepy music for the giant rabbit Frank scenes, changing the viewing experience tone to a darker than dark and automatically darko, place and state of mind.
Furthermore, the lesson that sticks is some films do not need an astronomic budget to be good and do not take poor box office figures if the ultimate job is superb. Donnie Darko only received flying colours by the critics and experienced a cult phenomenon throughout the years as fans watched four or five times the film so they could understand and realise the film deserved much more crowd-credit.

Atila Paton


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