Customer Reviews

The Fountain

5 star:		(71)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I saw this film last Sunday and thought the visuals and story were great,but the nucleus holding the film together was in fact the music.Clint Mansell ,the Kronos Quartet(whom I'll be seeing in concert this sunday),and Mogwai have accomplished what VERY few film composers of this day and age have been able to:create a nearly flawless masterpiece which makes the film more than a visual experience,but can stand on it's own as a treasured album.You probably won't appreciate the music as much unless you see the film first,though.

I would describe the music as some-what Philip Glass-esque,because it works its way into scenes in waves most of the time which ebb and flow,and then grow in intensity.Some tracks reach enormous heights of intensity,while others ride on the thin line between ambient music and a full,orchestral tone.At the soundtracks highest peak,probably in one of the last tracks,you will find the only really loud music for only a matter of maybe 30 seconds or so,and you should see the film to get a full grasp of how powerful that half-minute truly is!

I cannot believe some of the reviews this film is getting.The Czecks hated it I read,and most of the people who I've talked to that have seen it said they left after about 20 minutes;most left because the montage was too difficult to follow,and one guy even said he left with his girlfreind because "that stupid yoga part with the backdrop of stars was just too artsy."My film teacher is right.Film might be a dead art if all Americans want to see these days is 100% fast-cuts,neo-pop heavy metal infused action sequences,cutie-pie cartoons,and the same 10 love stories re-done every year with different actors and actresses,but the same old premise.

I simply can't comprehend how anyone could become bored watching such a powerfully interesting film such as "The Fountain".Show Hollywood what you'd like to see them produce by seeing this film and buying this soundtrack.I'll support it because I want change.

...and I emphasize "film" because that is exactly what we have here -- the musical counterpoint to a motion picture. Being a pretty avid fan of the orchestral works that give life to their respective films, I've had a lot of chances over time to experience the contrast that exists between a score's function within a film, and a score as presented on album, as a separate musical entity dismembered entirely from the imagery it accompanies.

For me, Mansell's 'The Fountain' is truly special because, like so very few film scores, it is able to retain a sense of lucidity in the midst of its abandonment from Aronofsky's film. Granted, I found the film, visually, to be utterly stunning and unique; its images often powerful enough, on their very own, to evoke an uncommonly strong emotional response. Thus, the question that might be contemplated will be whether or not Mansell's score is in itself truly a work of greatness, or perhaps just a good score that happens to service a work of "visionary" (truly applicable) genius. And yet, there is really no way to answer this, because in the context of the film, Mansell's score, just as much as any other element, is an unrelenting force that propels and enhances each and every emotion being felt. I do believe, without any doubt in my mind, that 'The Fountain', as an album -- listened to without being acquainted with the film -- will not impress, nor affect, to any degree like that of someone who's absorbed the various ideas and sentiments gathered in experiencing the film. This, in many cases, could serve an argument in disfavor of Mansell's score as an illustrious composition, for I've heard a great deal of scores that, musically, are equally as potent an experience (often even more so) than that of their fusion with an un-scored film. To me, 'The Fountain' proves the exact opposite -- the only reason it works so well as an ALBUM is because the associations it so effortlessly evokes -- so intimately inborn to the images it nourishes -- are, literally, at the very hand [mind;ears;heart] of the listener who's experienced its intentions within the proper context. While I've seen this declaration thrown about a million times in reference to a film's score, 'The Fountain' stands at the very highest plane of that specific inclination.

This is an emotional score. On my first (and only) viewing of the film, much evaded my mind, but an affection that stayed intact amidst the confusion was that of a piercing to my heart. Much of the music on here brings tears to my eyes, and I don't mean to use that in the trivial sense; when I hear "Stay With Me" (which actually appears several times in the film), the image of Tommy, alone in his "bubble" amidst the vastness of space -- desperately clinging to The Tree of Life as its spirit slowly dissipates -- breaks my heart with its hopeful yearning crushed by a sense of devastating loss. During this, and other scenes in the film, Aronofsky so beautifully halts the pace, demanding a true ingestion of the feelings swirling around in ones head, and heart. Likewise, Mansell's score follows the same formula -- it is sublimely reflective, by which a sense of beauty and resonance develop; from that pensive but free-willed expression, a desperate affinity devours the soul.

Mansell's instrumentation is generally simple -- solitary strings and piano permeate amongst a celestial, bounteous ambiance -- a tact that provides at once a spatial isolation and (courtesy the weeping strings and tender, heartfelt piano), amidst that, a contrasting empathy for Tom and his universally Human quests in life, amidst such fateful circumstance. When its not floating in a pool of idle meditation, it remains melodic and, in its more driven moments, passionate and emotive a different kind of level -- a resilient crusade for more -- for IT. No track demonstrates this better than "Death is the Road to Awe", which also accompanies the most overwhelming montage in the film's (late) climax -- in the one moment of down-and-out orgasm, Mansell employs an absolutely impeccable use of chorale burst amongst a score that, until this point, had so respectfully restrained from anything close to that level of bombast. Because of this, and the cue's particular significance to Tom and his glorious moment of "awe" -- I am drenched in a final, loving relief -- an exalted feeling that follows the preceding hope, fear, and tragedy that has forever dwelled inside him, and the score; this moment usually makes me cry.

I'm rambling, and forgetting the limited word count.
See the film, then buy this album.

I agree with other reviewers who note that the soundtrack complements the film. If you have not seen the film, then this soundtrack might sound Phillip Glass-like, perhaps repetitive, because its motifs are few in number and simple in structure -- although the scoring is complex. But if you have seen the film, then this music becomes far more interesting, not least because it rather eerily evocates visions and ideas from the film that are visual rather than aural in nature. Whether this is due to the music itself, or due to the fact that the film itself is visually overwhelming, I don't know, but the effect is very cool. The upshot is that this a fascinating film and a fascinating and enjoyable soundtrack. Watch the film, then buy the soundtrack, and you will not be disappointed.

It's rare for a movie soundtrack to be able to stand on its own as a complete piece of music, but this is definitely one such soundtrack. Previous reviewers have already spoken eloquently of its melancholy & ecstatic beauty, and I can only agree with their comments. If you've seen the movie, then the music will evoke its poignant images & story once more; but if you haven't seen it, you'll still be swept away & deeply moved by this intensely emotional score. Sometimes working through minimalist understatement, sometimes swelling & surging like an ocean of stars & memories, it speaks directly to the heart. Powerfully Romantic, both bleak & comforting, and most highly recommended!

A fan of Aronofsky's extraordinary Requiem of a Dream, I was anxious to discover if The Fountain's music style would be as equally compelling or as memorable. After all, Requiem is one of the most memorably haunting film scores in recent memory and quite a tough act to follow. The score does not disappoint; Clint Mansell and Kronos Quartet leave a lasting impression. The Fountain is reminiscent of Requiem's score, but is not overshadowed by its predecessor.

This is a stunning and often dramatic score, encompassing delicately ambient tones, heartbreaking cords and sorrowful piano. Scottish post-rock act Mogwai's addition to Kronos Quartet is like icing on the cake, bringing a dark edginess very appropriate to the film's themes of mortality and love.

The Fountain may or may not be added to Aronofsky's list of achievements, but the score is undoubtedly breathtaking. You will be sure to enjoy this as a fan of Requiem or Mogwai, but even if you are not, check this out, it will dazzle you.

Darren Aronofsky's visionary masterpiece The Fountain is a sight to behold for sure, and one of the most memorable things about the film is the haunting score. Clint Mansell, who also scored Aronofsky's previous films Pi and Requiem for a Dream, provides the beautiful and haunting score for The Fountain, which may very well be one of the absolute best film scores you will ever hear. With assists from the Kronos Quartet and Scottish rockers Mogwai, Mansell provides a shockingly emotional, deliberately paced score that undermines the feelings of loss and love that Aronofsky exploited in his film. The end result is some of the most emotionally heartbreaking film score music ever crafted, and if you don't believe me there, give a listen to the closing "Together We Will Live Forever", played during the closing credits of the film. "Tree of Life", "Stay With Me", and "First Snow" also illustrate the haunting beauty of the film, and "Death is the Road to Awe" is nothing short of epic and heartbreaking. All in all, Clint Mansell's score to Darren Aronofsky's The Fountain is a haunting and brilliant piece of music that is both sad and beautiful at the same time, and needless to say that if you enjoyed the music in the film, the score is an essential pick up.

The Fountain, even if a bit too abstract at times for my taste, is a stunning and beautifully made film, and one that is very worth seeing. And one of the things that make it so special is its amazing soundtrack, which complements the visual and emotional beauty of the film perfectly. Well, it turns out that the music works really well as a standalone album too. In fact, it's some of the best instrumental music I own. I highly recommend this to anyone who loves beautiful music, even those who haven't seen the film or who don't ordinarily listen to film scores.

There's no doubt. This is the best score of 2006 and Clint Mansell is a new musical genius.

This score is evidence of Clint Mansell's maturing as a composer. His theme for Requiem for a Dream was hauntingly beautiful, but the rest of the score does not quite hold together outside of the movie. The Fountain is very thematic, with each piece experimenting with and playing upon the main theme. The result is a coherent CD that is breathtaking. On the film, it is of course a stunning addition to a gorgeous film. I highly recommend both.

I've owned this cd for a little over two years now. It is still my favorite. I think I listened to the last track, "Together we will Live Forever" almost continuously for the first year - now I only listen about once a week. Absolutely stunning.