If it isn’t clear enough, I’ve been on a particularly obsessive Alexandre Desplat bent lately, so I thought I would expand on what films I have already seen that feature Desplat as the music composer. His filmography has grown dramatically over the last five years, and I know there is much I’ve yet to discover of his range and creative process.

I have taken on an ambitious task of so watching nine films composed by Desplat that cover the gamut of genres in no particular order, and I will concurrently review the soundtracks along with the movie. It’s a chance to appreciate, enjoy and critique the broad scope of Desplat’s skill and niche. The reviews will be bite-sized but detailed – I am consciously trying to cut down on my word count as a test of discipline (!).

EDIT (October 2011): It’s come to my attention that I’ve been cited on the DH2 score’s Wikipedia page as a music critic. I just want to confirm that I am NOT a professional writer, just a curious and passionate fan.

Late last year we heard rumours that John Williams would return to the Harry Potter franchise to compose the final Potter film, which I wasn’t particularly writing home about. I’ve actually not been much of a Williams fan in the Potter series (“Hedwig’s Theme”, “Fawkes the Phoenix” and the Prisoner of Azkaban score notwithstanding). However, it was later announced that Alexandre Desplat would stay on for Part Two.

After all, it just makes sense to finish what you’ve started.

I wrote my review of Harry Potter and the Deathly Hallows, Part One in April. I thought Desplat’s score enhanced the film wonderfully, and I was confident that Part Two was in sensitive and capable hands. Listening to Part Two now, I can happily back that prediction.

Last night, all was crowded on the Palace front. My uni buddies and I sidled into a space at the front, watching the opening band, Seja, perform (who was good in a mellow, Au Revoir Simone synth-pop/electronica way, if a little shaky) but we were really just  impatient for Goldfrapp.

The roadies unveiled a giant shimmering silver nylon/spandex set prop shaped like a gramophone horn. Just a teasing prelude into what the night ahead promised. Given the physical limitations of the stage I was a bit apprehensive about how it would all turn out. But come half an hour later, boy did I have absolutely nothing to worry about, because as soon as “Voice Thing” started sighing through the airwaves and the lights flashed and the dry ice made a smoky haze, it was just one continual stream of dazzling, palpitating, hallucinogenic spectacles after another.

I’ll have my review of the film soon enough, but I thought I’d jot down my thoughts on the score now while my enthusiasm’s still this amazingly high. Once again, British composer Nicholas Hooper takes up the mantle of composing the Harry Potter films for director David Yates. I thoroughly enjoyed his interpretation of The Order of the Phoenix—really, just glad to be shot of John Williams for once—and I fully anticipated the same magical and uncoventional tone that embodied the last score. I am probably one of the few who’s absolutely adored what Hooper’s contributed to the series. Yeah, maybe I’m a nutcase. But I admire how he takes advantage of what’s at his disposal—he creates unusual musical arrangements but somehow he makes them work. He takes calculated, creative risks and I think for the most part they’re incredibly successful. It’s wonderful, really, and I couldn’t be more pleased with what he’s done in Half-Blood Prince. If only the film had highlighted this wondrous music better. Apparently Hooper may be stepping down for the Deathly Hallows films, making way for John Williams’ return. Personally am not warming to this piece of news (just yet).

Opening (2:54)
A shadowy, ominous opener, with …

Seems like every blog’s got to have one, but this year was certainly one to remember. So many good things and bad things, possibly more bad than good, if the media has anything to do with it. We’ve had the best Olympic Games in history (in my opinion, not that I’m biased or anything), some of the worst natural disasters in decades, with alarming frequency and devastation; a phenomenal, an emotional and historic apology to the Indigenous Australians for the wrongs of the past (but no compensation in sight hrmmm), an aggressive but inspiring race between Obama and McCain to the White House and the worst economic meltdown in decades. I feel as though that 2008 still has plenty to offer me, and yet it seemed to pass by so slowly… I wonder at that, but I’m optimistic at what lies ahead in 2009.

We haven’t exactly had a great plate of good films this year, but I think the handful of excellent ones make up for all the constant churning of sluggish nonsense (I look at you, Beverley Hills Chihuahua).

Best Film
The Dark Knight (hands down)
Director, Christopher Nolan completely blows our minds away with an intelligent and action-packed sequel to the …