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IgorCalzone1/Life
Soundtrack von verschiedenen Interpreten
Veröffent- lichung(en)	2017
Format(e)	Download, CD

The score for Life (2017) is by Swedish composer Jon Ekstrand,

Produktion

Die Musik des Films Life (2017) wurde vom schwedischen Komponisten Jon Ekstrand komponiert. Der schwedische Komponist hatte Espinosa viele Jahre zuvor an einer dänischen Filmschule kennengelernt, und es handelte sich bei Life um den sechsten Film für den Ekstrand und Espinosa zusammenarbeiteten. Ekstrand begann mit seiner Arbeit nach dem Lesen des Drehbuchs und arbeitete mit Unterbrechungen rund ein Jahr an der Filmmusik, in der letzten Phase in London, wo der Film auch gedreht und geschnitten wurde. Die Aufnahmen selbst erfolgten an sieben Tagen im Februar 2016 bei AIR Lyndhurst. Erstmals wurde hierfür von Ekstrand komponierte Filmmusik von einem großen Orchester eingespielt, das letztlich aus rund 100 Musikern bestand, darunter auch Wagnertuba spielende Bläser, und von einem 32-köpfigen Chor begleitet wurde. Einzelne Musikstücke wurden auch den Schauspielern während der Dreharbeiten vorgespielt.

NOCH ÜBERSETZEN: The music is, essentially, a combination of two styles. The first is slow, contemplative, moody music that is clearly intended to address both the cold desolation of space, and the fascinating minutiae of scientific discovery as it relates to Calvin and his exponential growth. Unfortunately, and with just a few brief exceptions, most of it is simply not very interesting. The opening cue, “Welcome to the ISS,” features a dialogue extract of Rebecca Ferguson speaking in-character, setting up the plot of the movie, but thereafter much of the first half of the score adopts a singular style featuring synth drones, simple string sustains, soft piano chords, and occasional rhythmic sequences for percussion, both live and electronic.

NOCH ÜBERSETZEN: The one or two uses of a choir, in cues like “Like a Bird” and “New Best Friends,” add a little depth and color to the music, with the latter enjoying some sweet, almost-childlike moments of choral innocence. In addition, the final 30 seconds of “Welcome to the ISS” are very pretty, while the final 30 seconds of “It’s Alive” and parts of “Care to Dance” briefly embrace horn-led warmth. However, most of the rest is inoffensively bland. Identifiable thematic content is virtually zero, and there doesn’t even appear to be a recurring motif for Calvin to announce his increasingly malevolent presence. Even the pivotal “Goodnight, Earth” cue holds back tremendously, as if it is afraid to show the audience even the merest hint of lyrical content.

NOCH ÜBERSETZEN: The second style is made up of more brazen action and horror music but, even here, the music is fairly simple and terribly predictable. Cues like “Spacewalk,” “Thrusters,” “I Thought They Came to Rescue Us?,” and the conclusive “A Long Way Back” are energetic and noisy, but are really little more than generic string pulses, brass whole notes, and percussion slams, repeated endlessly on a loop with varying degrees of loudness and intensity. Some of the brass-led raspiness in cues like “Sprinklers” and “I Thought They Came to Rescue Us?” is intensely overwhelming, as are the forceful percussion hits in “Spacewalk,” and the guttural, brutal electronic chords in “A Long Way Back,” but the disappointing adoption of the ‘horn of doom’ in many of these cues smacks of temp-track love, and a leaf taken out of the Contemporary Thriller Scoring 101 playbook.

NOCH ÜBERSETZEN: Meanwhile, cues like “Need a Hand?,” “Not the Face,” and “What Are You?” use basic horror movie music tropes to create suspense, with elongated string chords, little tinkling piano notes, occasional insect-like skittery effects, and a synth whine that underpins it all. “Up, Up” blends the two styles together, emerging from the soft piano chords and synth textures into more a rhythmic action sequence with enhanced brass, percussion hits, and even some anvils, and is probably the pick of the litter.

NOCH ÜBERSETZEN: The score finally comes into its own in “Godspeed, Doctor,” which is by far the best cue on the album. Here, and only here, is where Ekstrand allows you to feel any emotional catharsis, any sense of heroism, and he accomplishes it by using bright, hopeful brass phrases and uplifting choral accents, although even here the crushing electronics, the string dissonances, and the horn of doom are never far away.

NOCH ÜBERSETZEN: When you look back at the musical legacy of the Alien franchise – the stylistics of which Life is clearly trying to emulate – the shortcomings of the score are revealed in sharp relief. Of course, Jerry Goldsmith, James Horner, and Elliot Goldenthal were all masters of the craft, and such comparisons are perhaps a little unfair, but even when compared to Steven Price’s Gravity – another score with which Life shares many similarities, but this time written by a peer – the difference between it and Ekstrand’s music is like night and day; Price was more innovative with his electronic samples, used his orchestra in more creative ways, made his moments of overwhelming musical brutality interesting from a compositional point of view, and succeeded in moving the audience with his rousing, invigorating finale. I really didn’t get any of that from Life.

Veröffentlichung

Der Soundtrack zum Film umfasst 16 Stücke, erschien am 24. März 2017 als Download und wurde am 5. Mai 2017 von Milan Records auf CD veröffentlicht.

Titelliste des Soundtracks

1. Welcome to the ISS
2. It's Alive
3. Like a Bird
4. Dance
5. New Best Friends
6. Need a Hand?
7. Lost Inside
8. Sprinkler System
9. Spacewalk
10. Thrusters
11. Up, Up
12. I Thought They Came To Rescue
13. Goodnight, Earth
14. Where Are You?
15. Godspeed, Doctor
16. The Long Way Back

Rezeption

NOCH ÜBERSETZEN: To celebrate the discovery, horns blare on Jon Ekstrand’s constantly shape-shifting score (one moment, he’s waxing optimistic with low-key strings, the next, he’s amplifying the tension via “Inception”-style foghorns).

NOCH ÜBERSETZEN: Composer Jon Ekstrand’s score is appropriately manic for a movie that develops its claustrophobia as it moves along. During the chaotic finale, the music shifts into an ironic waltz — a welcome nod to “2001: A Space Odyssey” — that plays against the destruction with wonderfully cinematic results. It’s one of several moments that indicate the intentions of a filmmaker desperate to push the material beyond the limitations of a traditional horror movie in space. But no matter how much trickery Espinosa throws into the frame, “Life” remains tethered to familiar terra firma.

NOCH ÜBERSETZEN: Composer Jon Ekstrand’s fabulous score, which combines majestic power chords connoting the majesty of space with the dissonance of what lies waiting for us out there.

NOCH ÜBERSETZEN: The conclusive A Long Way Back are energetic and noisy, but are really little more than generic string pulses, brass whole notes, and percussion slams, repeated endlessly on a loop with varying degrees of loudness and intensity.

Auszeichnungen

Am 18. Dezember 2017 gab die Academy of Motion Picture Arts and Sciences bekannt, dass sich Es Arbeit auf einer Shortlist befindet, aus der die Nominierungen in der Kategorie Beste Filmmusik im Rahmen der Oscarverleihung 2018 erfolgen werden.