Customer Reviews

Cinderella Man [Original Motion Picture Soundtrack]

5 star:		(6)
4 star:		(6)
3 star:		(6)
2 star:		(0)
1 star:		(0)

 

 

I've been a fan of Newman's compositions since he scored "The Shawshank Redemption." And while I feel that he may never out-do his own work on "American Beauty", there's no question that he's created a niche for himself and his composing style. There is a "Newman Sound." It's undoubtedly graced your ears several times before.

Having not seen the film yet, I bought this CD in anticipation of what Thomas' interpretation of what 'Cinderella Man' would be. Through his seemingly endless supply of short, haunting, introspective melodies and quick bursts of emotion I was taken into the heart of what I believe this film is truly about - love, strength, and honor. And as a result, I simply can't wait to see it - if for no other reason than to see the visuals that inspired the genius that is Thomas Newman.

Like many of Newman's soundtrack recordings, there are about 4 tracks of music from the film that are 1930's originals. And like many of the period pieces he's scored in the past, these songs break up Newman's score quite nicely. Unlike much of the old-style porch music that you've heard in previous scores, these songs are much closer to Jazz than anything else. If you're into that style, you'll find this to be quite a bonus.

For those of you who purchase soundtracks, I highly suggest you pick up this classic. For other Newman fans such as myself, it's a must have - get it now. My only hope is that the Academy recognize the fundamental artistry of one of the most unquestionably classical composers of our age, and finally give this man the oscar he so righteously deserves.

I can't say I'm an expert on movie soundtracks or anything, but I do own and enjoy several different ones (probably quite a few more than the average person). I just want to say that not only does this music do a really good job of setting the tone for the movie, it is just generally enjoyable to listen to. The disc has several of the songs that just sound like pure Irish folk music with instruments such as flutes, whistles, mandolin, and Irish fiddle. It also has its fair share of music that comes straight out of the Great Depression Era and those songs all sound fantastic. You even get Paul Giamatti whistling "Londonderry Air"! I'd have to say that all-around, this is one of my favorite soundtracks I have heard in quite some time.

Thomas Newman's soundtrack for Cinderella Man doesn't stray from the patented "Newman sound" too much. In it, Newman utilizes his "sound" which has been present for many of his movies with new motifs and themes, and of course, it is a good decision, as it works very well. If you're a fan of Newman's works, this is definitely a good buy, but newcomers would probably find a warmer and more colorful welcome to the world of Thomas Newman in a score like "Road to Perdition". In "Cinderella Man", strings and piano is probably the most prominent style, though there are also tinges of action, orchestral magic, ethnically influenced music and of course, Newman's typical odd instrumentation.

The score opens with the cue that pretty much defines the score. "The Inside Out" is a restrained, calm track which opens with an odd piano and emotional strings, which take the field before returning to the piano. This combination is common throughout the score. "Mae", an optimistic track, also renders piano and strings, which follows into other tracks which feature the same motif but with varying use of the themes. The first real breakthrough moment is "Weehakwen Ferry" with what I have heard called a "see saw effect" with strings, strings which soar before being pulled back down by another piano motif. The first Irish tinge appears in "Hope of the Irish", a short piece which develops fully later in "Turtle". There is a track called "Londonderry Air" consisting of Paul Giamatti whistling - not very interesting, to say the least. "Corn Griffin" presents a single note blared by the orchestra over interesting percussion rhythms. This is somewhat echoed later in "Pugilism", though in this one the forefront is on the pizzicato strings, a favourite of Newman's.

Where the score really shines is near the climax, where Newman draws out the top cards he's been hiding. "Big Right" starts out with a tint of heroism which fully explodes near the end with the orchestra. Thomas Newman is really the only composer able to compose throughly interesting action pieces that I actually enjoy. The emotional highlight comes on "Cinderella Man", with Newman's traditional soaring strings, which eventually descend back into the restrained piano effort.

Cinderella Man is not a groundbreaking score, but you take it for what it is, which is another enjoyable Thomas Newman score in traditional Tom Newman style. Though it sounds similar in it's tone throughout, it still manages to retain interest and the final few tracks are a great sendoff. Reccomended, though for new listeners, I would point to Newman's more varied scores.

Man, Thomas Newman, if anyone knows how to deliever a great score it's this guy. Director Sam Mendez(American Beauty,Road to Perdition) called upon Thomas Newman in his previous 2 movies, and both scores were excellent, but I must say this score he has done for Ron Howard's latest film was as impressive as Braddock's comeback. This is the best score of the year so far, and recommended to everyone familiar with this brilliant man's work.

Ok, now that you know how I feel about Thomas Newman, let me say that even if you're new to purchasing film scores, this is a spectacular piece of work. Yes, the "sound" is typical Thomas Newman ...swelling orchestras, haunting distant whistles, tumbling drums... but why shouldn't it be? Mozart sounds like Mozart, Hendrix sounds like Hendrix. That said, there is A LOT of versatility going on here. Compare the theme "Cinderella Man" to the track "Turtle" for example. These aren't just noodling variations on a theme, they are great songs that stand on their own.

For a real treat, I recommend you listen to the soundtrack several times, then watch the movie (even better if it's for the first time). This is a composer who can work the magic of creating something that is both perfect for a film maker and delicious for a listener.

Cinderella Man is one of my favorite movies of all time. And the soundtrack does not disappoint. They have all of the powerful songs heard on the DVD. It even has the songs that you could barely hear in the movie because they were simply background music to the scenes. For instance, when Mike Wilson and Jim Braddock sit down together after work and have a drink and discuss the troubled times their nation was facing during the depression, you can faintly hear a song called, "We've Got to Put that Sun Back in the Sky" by Roane's Pennsylvanians. That song is on here in its entirety.

The other example is found in the scene where Joe Gould is seen driving off after just speaking with Jim about his hopes of getting him another fight after Jim had defeated Corn Griffin. Joe is trying to leave before Mae can see him because he knows she would not approve of his talking with Jim and the potential of another fight for her husband. Anyway, just as he gets in the car, and as he drives off, you can here Bud Freeman's "Tillie's Downtown Now" being played--another great song from that era.

Every sound of Cinderella Man is found on this soundtrack. The lone downside to this CD is that the songs are not found in the order they appear in the movie. The first four songs are in order and the last five or so are in order, and the rest is thrown in the middle. They are all there, but as is typical for most soundtracks, they don't all coincide with the order presented in the picture.

This soundtrack is a terrific purchase for any fan of this movie. You will not be disappointed.

Cinderella Man is, in a way, a return to conventional scoring for Thomas Newman. For a long while we've heard world instruments and percussion banging it out before stopping to allow beautiful themes to grasp our souls, but in Cinderella Man the effort is more restrained. It is largely a score for piano and strings, and fans of Thomas Newman will have heard the sound before. But, all the same, it is an enjoyable score for Newman fans of both kinds, and while it does take a while to get into a full expression of the story, it is definitely worth the wait.

The piano is used a lot in the score, making appearances across most of the tracks, including the gentle "The Inside Out" or in "Mae", appear with the delicate strings that we have come to expect from Newman. "Pugilism" makes use of pizzicato movements, whereas the two Irish influenced tracks, "Hope of the Irish" and "Turtle", bring back some more unconventional instruments as one would expect. But largely, the score meanders in the background, establishing a delicate tone and texture, but never really taking a forefront. Of course, I must make mention of the wonderful "Weehawken Ferry", which presents a crisp walking movement of strings, similar to what was heard in Shawshank Redemption. However, it is not until the final few tracks that the music finally free's itself from it's subdued nature and reaches out. "Big Right" explodes with blaring french horns and sharp strings, until it finally fades off and allows the highlight track, "Cinderella Man", to come in. This track is Newman at his best, with his typical soaring string arrangement of the main theme introduced in "The Inside Out", before finally reverting back to quiet woodwinds and piano near the end.

Cinderella Man is by no means an innovative or groundbreaking score - it's a fairly conventional drama score. The same adjectives could be applied to the movie as well. Is it worth the pick-up? Definitely, if you are looking for more Newman goodness. However, if you're looking to get into the world of Newman with a more colorful score - try "Angels in America" or "Road to Perdition".

- prasanth1111@gmail.com

If you could give an entire decade it's own musical score, Thomas Newman would be your composer. Consider his previous 1930's scores - Shawshank Redemption, The Green Mile, Road to Perdition. Newman knows how to evoke the feeling of one of the most difficult periods in our history. He does it again with his score to Cinderella Man. This was one of my favorite movies - an incredible true story of human triumph over seemingly insurmountable obstacles. Many scenes nearly (or do) bring you to tears (I heard plenty of sniffles in the theater and had to hold back my own) and Newman's score brought out all of that emotion. Many reviewers feel he is recylcing his older works, but I did not get that feeling at all listening to this soundtrack. Yes, it has Newman's sound, his style, but it is not a rehashing of Shawshank Redemption. If you know Newman's works, you will enjoy this CD. Newman is so good that if I know he has done the score to a movie - I will go see it for that reason alone. Highly recommended!

It's not that the music isn't good, there's just not enough of it. I'm no musician and certainly not a producer, but it seemed to me that the tracks included on this CD just weren't long enough. It was almost as though each track ended in mid-play and left me waiting for more.

4.5 - that's what I give this score. The reason is, I think you can only truly save a 5 for those PERFECT scores like the Shawshank Redemption. If not for my self-imposed rule, I'd have given this score a 5.

I'll review this score in the form of a letter to Newman.

Dear Thomas,

Hey, you did it again. Thanks a lot, Tom! You pulled me in at all the right spots, but you didn't force the emotion but rather, simply soothed it. Your main theme will rank up there with the likes of 'So Was Red' from Shawshank and 'Ghost Train' from Fried Green Tomatoes. You melted our souls again, giving us the truest taste of heaven, and oh what a taste! You have not lost a thing and I'm sure Jimmy Horner, Carter Burwell, Jon Barry and their pals are still upset that you're the best composer alive today!

Thanks,

Joel

p.s. - those nineteen-thirties tracks were a great addition - as usual. You're the one who got me hooked on the friggin Ink Spots!


He'll probably never read this, but I thought I'd change up my review a bit.

This is a top ten Newman score. For a guy who's made a few dozen, that's saying something.