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Few films are more irritating than those that use a completely unexplained and unsubstantiated science fiction premise to pursue a narrowly focused dramatic narrative. Mark Romanek's 2010 arthouse film Never Let Me Go, based on the acclaimed Kazuo Ishiguru novel, is a tearjerker no doubt, slowly and solemnly following the doomed lives of a trio of youngsters grown from test tubes for the single purpose of serving as organ donors. There exists in society a sub-class of such youth that are harvested and eventually (and prematurely) put to death as part of a widely accepted organ replacement program that devalues the people being used within it. Complications arise when the most progressive school raising these laboratory children yields three people in a troubled love triangle, forcing society to deal with the possibility (surprise, surprise!) that these youths actually can love and have souls. In its limited initial release, Never Let Me Go was praised for tackling this premise, but many critics admitted that it's a bit too heavily introspective for its own good. The blinding problem with this otherwise compelling story is the total disregard of any addressing of the larger civil rights issues that would never allow such a public practice to exist in today's world. It's one thing to postulate that society will have degraded enough by Bladerunner to accept replicated people with an artificially limited lifespan, but for Never Let Me Go to suggest that an entire class of essentially slaves to the rest of humanity (and ones as attractive as Kiera Knightley, Carey Mulligan, and Andrew Garfield, for that matter) would be generally accepted in the 1960's and beyond is ludicrous. Regardless of America's degrading social mores, the country still has too much empathy to allow an entire class of children, whether grown in tubes or not, to be brainwashed and harvested in such a morbid fashion. Too many questions abound to make Never Let Me Go a viable film, but for those who can suspend logic for a few hours, it's powerfully acted melodrama made complete (no pun intended for those familiar with the concept) by Rachel Portman's equally depressing score. Once considered the mainstream queen of romantic music, replacing both John Barry and Georges Delerue for a short time in the 1990's, Portman has limited her composing schedule in the 2000's as she raises her family. Her musical output in recent years has been reduced to predictable assignments of her choice, usually dealing with deeply developed female characters in a dramatic setting. In this regard, nothing about what she writes for Never Let Me Go should surprise anyone. Since her work for Infamous in 2006, Portman's next five scores have all resided snugly in her stylistic comfort zone, none really as much so as Never Let Me Go. There is nothing new to be heard here, and it could be argued quite effectively that the film's dulling sense of gloom, largely maintained by extremely slow pacing, is only exacerbated by Portman's contribution. The ensemble is the composer's usual, beginning with strings and layering piano, harp, flute, clarinet, and oboe. Satisfying additions are solo violin and cello, obviously addressing societal alienation. The tone of the score is always harmonic and rooted in respective beauty, only touching upon grim atmosphere in a few cues late. The structures are repetitive and simplistic. Three themes exist, led by Portman's usual, lovely string idea similar in its flow to so many of her past efforts but still attractive none the less. The first two themes are the selling point of the score on album, and they occupy the first six cues almost exclusively. This dozen or so minutes of early material makes for an extremely and undemanding Portman listening experience, during which the highlights are the various solos. The clarinet and oboe performances in "To the Cottages" and especially "Madame is Coming" are classic Portman. (http://www.filmtracks.com/titles/never_let_go.html)
Rachel Portman has been always my favourite composer. Her music has such a special taste and i always get chills whenever i listen to one of her pieces. so it wasn't surprising to know that she was the first woman to win an academy award for best original score. i really like her music and that's why i made this combination, cause i'm sure i'm not the only one who loves her music that much and i wanted people to enjoy her scores those in my opinion the best. So if u did like this video.. please, subscribe, like and let me know which one was your favourite in the comments below :D 0:00 - 3:30 One Day _ We Had Today 3:31 - 8:40 Grey Gardens_ Main Titles 8:41 - 13:21 Never Let Me Go_ We All Complete 13:22 - 15:24 The Cider House Rules _ Main Titles 15:25 - 18:43 Chocolate _ Vianne Sets Up Shop 18:44 - 22:51 Emma _ End Titles 22:52 - 24:53 The Duchess _ End Titles 24:54 - 26:44 Bel Ami _ Main Titles 26:45 - 30:31 The Lake House _ Wait For Me 30:32 - 34:40 Still Life _ End Titles 34:41 - 39:12 Mona Lisa Smile _ Main Titles
Two tracks: Rachel Portman "We Had Today" and The Cinematic Orchestra (Jason Swinscoe) "Arrival Of The Birds" are just two of my favorite composers. All glory to Rachel Portman and Jason Swinscoe. Rachel Portman's official website: http://www.rachelportman.co.uk/ Facebook: https://www.facebook.com/pages/Rachel-Portman/197213527007102 Not sure if this is Rachel's youtube channel or an adoring fan: http://www.youtube.com/artist/rachel-portman Oscar winner and film composer RACHEL PORTMAN'S filmtracks review + more: http://www.filmtracks.com/composers/portman.shtml. The Cider House Rules, Emma, Never Let Me Go, The Lake House, The Duchess, Oliver Twist, The Legend of Bagger Vance, Mona Lisa Smile, The Perks of Being a Wallflower, The Adventures of Pinocchio, Beloved, Nicholas Nickleby, The Joy Luck Club, Addicted to Love, The Human Stain, Sirens, Benny & Joon, Grey Gardens, The Closer You Get, Hart's War, Chocolat, One Day: Original Score, The Road to Wellville, Private Peaceful: Music From the Original Motion Picture, War of the Buttons, The Sisterhood of the Traveling Pants 2, The Little Prince, Girl Rising, Snow Flower and the Secret Fan, The Emperor's New Clothes, A Pyromaniac's Love Story, Bel Ami, Great Moments in Aviation. JASON SWINSCOE composer/programmer/multi-instrumentalist and founder of THE CINEMATIC MUSIC: http://www.cinematicorchestra.com/ Youtube channel: http://www.youtube.com/artist/the-cinematic-orchestra Facebook: https://www.facebook.com/cinematicorchestra Myspace, free music, tour dates, + more: https://myspace.com/thecinematicorchestras Twitter: https://twitter.com/ninjatune/status/114688927117492224 All glory to Jason Swinscoe and Rachel Portman. Thank you for the gift of your music.
Rhapsody by Rachel Portman