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BlacKkKlansman Original Motion Picture Soundtrack
Soundtrack von Terence Blanchard
Veröffent- lichung(en)	10. August 2018
Format(e)	CD
Titel (Anzahl)	23
Länge	37:43

Die Musik zum Film BlacKkKlansman von Spike Lee wurde von Terence Blanchard komponiert und am 10. August 2018 von Back Lot Music als Download veröffentlicht.

Entstehungsgeschichte

Terence Blanchard

Die Filmmusik komponierte Terence Blanchard. Der Filmkomponist und Jazz-Trompeter hatte seit 1991 in der Vergangenheit bereits viele Male mit Spike Lee zusammengearbeitet, so für Jungle Fever, Malcolm X, 25th Hour und zuletzt für Chi-Raq und Inside Man.

Die Aufnahme wurde im März 2018 begonnen. Blanchard sagte über seine Arbeit, gemeinsam mit einem 80-köpfigen Orchester habe er versucht einen R& B-Hintergrund für diese Zeit zu schaffen. So höre man am Anfang und am Ende des Films diese Phrasen dieser Rif-artigen Grooves, jedoch in der Tradition der Filme der 1970er Jahre.

• https://www.vice.com/en_us/article/zm83xx/from-25th-hour-to-blackkklansman-the-man-behind-spike-lees-music

Veröffentlichung

Der Soundtrack, der insgesamt 23 Musikstücke umfasst, wurde am 10. August 2018 von Back Lot Music als Download veröffentlicht.

Titelliste

1. Gone With the Wind (1:01)
2. Hatred At Its Best (2:37)
3. Main Theme (1:01)
4. Ron’s Theme (1:26)
5. Firing Range (1:33)
6. No Cross Burning Tonight (3:11)
7. Patrice Library (1:33)
8. Ron Meets FBI Agent (1:55)
9. Connie and the Bomb (1:17)
10. Guarding David Duke (0:57)
11. Tale of Two Powers 1 (2:40)
12. Tale of Two Powers 2 (2:20)
13. Tale of Two Powers 3 (1:44)
14. Woodrow Wilson (0:21)
15. Klan Cavalry (0:45)
16. Ron’s Search (1:05)
17. Patrice Followed (1:26)
18. Here Comes Ron (0:45)
19. White Power Theme (0:44)
20. Partner Funk Theme (0:40)
21. Main Theme – Ron (1:23)
22. Blut Und Boden (Blood and Soil) (3:41)
23. Photo Opps (3:39)

Rezeption

Mihnea Manduteanu meint, Terence Blanchard habe eine trügerische Partitur geschrieben, die die Komplexität der Geschichte widerspiegele und sei hier mal romantisch und elegant und dann wieder angespannt und ironisch. Es sei zudem bemerkenswert, wie es dem Komponisten gelungen ist, diese Filmmusik so authentisch und so mit der Zeit gebunden klingen zu lassen, in der die Geschichte spielt. Manchmal ließen ihn die dunklen, ironischen Töne der Musik an Carter Burwells Musik für Coen-Brüder-Filme denken, so Manduteanu. Allerdings sei Blanchards Musik ein wenigen zu leise und bewege sich zu sehr im Hintergrund, um einen Eindruck zu hinterlassen.

Für Lindsey Bahr von Associated Press ist xxx: "one of the more memorable film scores in years, from composer Terence Blanchard"

David Edelstein vom New York Magazine/ Vulture spricht von einer: "a stupendous, lushly melodic score".

"Das perfekte Setting, der kongeniale Soundtrack sowie Kamera, Licht- und Farbsetzung imitieren höchst überzeugend den Look der 1970er Jahre."

ZUR PASSAGENWEISEN ÜBERSETZUNG: Jonathan Broxton: "As the son of a jazz musician, Spike Lee has always had a close relationship with music, and this translates into his films. His most frequent collaborator over the years has been composer Terence Blanchard, who has composed the music for every Lee film since Jungle Fever in 1991. Despite being a trumpet virtuoso and a jazz specialist, Blanchard’s music for Lee’s films is eclectic and widely divergent, and often includes some spectacular works for full orchestra – my favorites include Malcolm X, Clockers, 25th Hour, and Miracle at St. Anna. Blackkklansman continues that trend, and may well be my new favorite Lee-Blanchard collaboration to date. It’s a score which blends 1970s jazz and funk sounds with more traditional orchestral strings befitting a classic thriller, all built around a memorable recurring main theme for the Ron Stallworth character that receives several stirring statements and clever variations, plus a couple of smaller recurring ideas which weave in and out of the score at regular intervals. The score actually opens with “Gone With the Wind,” which is not based on Max Steiner’s score but is instead a big full orchestral piece which blends together two classic songs of the south – Stephen Foster’s “Old Folks at Home,” better known as ‘Suwannee River,’ and the ‘Look Away’ part of Daniel Decatur Emmett’s “Dixie”. It plays over one of the film’s opening scenes, which shows footage from the classic 1939 movie in which Scarlett O’Hara stumbles through a train yard full of wounded soldiers while the Confederate flag flutters high in the breeze. After this opening the score then presents is key thematic ideas sequentially, the first of which are the White Power theme and the Main Theme. Although they are presented separately, Blanchard clearly has it in mind that they are linked, both musically and conceptually, as throughout the score they seem to play off each other, informing the narrative as they develop. What’s most clever about them is the way Blanchard uses the themes to convey so many different moods and depict the varying faces of racism. In “Hatred at Its Best,” for example, the music is soft, warm, and unexpectedly gentle, leaning on writing for piano, strings, and harp to convey a mood of almost benign domesticity – racism served by a cheerful housewife with a side of cheese dip. These ideas are explored further in “No Cross Burning Tonight,” in which Blanchard somehow manages to get himself into the point of view of the KKK and wax nostalgic about the old days of lynchings and intimidation tactics. It says something extraordinary about Blanchard’s talent as a composer, and his understanding of the film’s narrative requirements, that he can take such an abhorrent concept and make it seem almost appealing. The subsequent “Main Theme” introduces a guitar and a drum kit into the orchestra, while the darkness in the strings gives the whole thing an off-kilter vibe, with sinister, moody chord progressions that remind me of something Carter Burwell or Howard Shore might have written for a film like this. Subsequent cues like “Connie and the Bomb,” “Woodrow Wilson,” and “Klan Cavalry” explore these ideas more deeply, often with an increased brass presence, while the final statement of the “White Power Theme” is grandly oppressive, with hugely ominous orchestral chords dominating the cue. However, the cornerstone of the score is “Ron’s Theme,” a wonderful piece of orchestral funk built around a recurring 7-note motif that changes its lead instrument as the circumstances dictate. In its first appearance it is passed around across various woodwinds, augmented by pizzicato strings, bass guitars, vibraphone, and percussion; it’s wry, a little introverted, even perhaps a little comedic. However, as it develops through the score, it seems to want to adopt a tone similar to the scores from some of the classic Blaxploitation films that are discussed during the movie – Isaac Hayes’s Shaft, Roy Ayers’s Coffy, Willie Hutch’s Foxy Brown, Curtis Mayfield’s Superfly, and J. J. Johnson’s Cleopatra Jones, among them. In “Firing Range,” which underscores the disturbing scene where Ron discovers metal targets shaped like old stereotypical ‘runaway slaves’ deep in the woods, his theme is played on brass and electric guitar accompanied by abstract orchestral textures and dark piano chords. Later, in “Patrice Library,” Ron’s theme is arranged as a romantic piece for the developing relationship between Ron and Patrice, featuring some especially beautiful writing for piano and flute, and electric guitar phrasing that may remind some people of 1980s Michael Kamen. In “Ron Meets FBI Agent” the theme is confident, almost swaggering, with prominent writing for electric guitar, contrapuntal strings, bold brass, and jazz flute. Eventually, by the time we get to “Ron’s Search” and “Here Comes Ron,” the theme is in full-on hero mode, and is being performed at its funkiest, most aggressive, and most propulsive, with thrumming wakka-wakka guitars and valiant horns."

Auszeichnungen

Bei der anstehenden Oscarverleihung 2019 befindet sich der Film in einer Shortlist in der Kategorie Beste Filmmusik. Im Folgenden eine Auswahl von Auszeichnungen und Nominierungen:

Black Reel Awards 2018

• Nominierung für die Beste Filmmusik

Hollywood Music in Media Awards 2018

• Nominierung für die Beste Filmmusik – Spielfilm (Terence Blanchard)

Los Angeles Online Film Critics Society Awards 2019

• Nominierung für die Beste Filmmusik (Terence Blanchard)

Satellite Awards 2018

• Nominierung für die Beste Filmmusik (Terence Blanchard)