Customer Reviews

Pride & Prejudice [Music from the Motion Picture]

5 star:		(142)
4 star:		(28)
3 star:		(3)
2 star:		(2)
1 star:		(0)

 

 

Although I initially expected a much stronger score for the new "Pride & Prejudice", and was a bit surprised by the softer side it seems to take, I do really like the score. Having bought the soundtrack from Amazon UK over a month ago, and having seen two screenings of the new "Pride & Prejudice" film in the last two weeks, I can rightfully say that the music really flows well with the film, and never overpowers it. It circles, entwines, prods, calms and flows: always appropriate and always divine.

The beautiful tracks like "Meryton Townhall" or "Another Dance" where they dance a lively tune, or the aptly named "Militia Marches In" with a nice military feel..."The Secret Life of Daydreams" is beautiful: the wonderfully haunting "Your Hands Are Cold," and "Mrs. Darcy" has a nice build and feel...for those of you who do English Country Dance/Regency Dance like me, you find yourself looking for the tune for "Mr. Beveridge's Maggot" (which is what Elizabeth & Darcy dance to in the 1995 version), instead you will find "A Postcard to Henry Purcell", which is haunting, mellow & beautiful in its own right.

My favorite tracks, "Liz on Top of the World," builds to a more strong tone, and has a gorgeous feel and "Your Hands Are Cold" is both strong and soft, loving and harsh, and is I feel, the best track in the film: the imagery in the film that goes along with it is beautiful, and complements each other well. All in all, a highly recommended score to go along with a highly recommended film!

I have not a single complaint about this soundtrack, save for the fact that much of the festive ball music is missing. Upon much research, I've discovered that many of them were authentic English Country dance tunes that can probably be found online or off another CD. For those interested, here's a listing:

1. Black Bess - Jane and Mr. Bingley's first dance at the Meryton Townhall and when Elizabeth asks Mr. Darcy if he dances ("Not if I can help it")

2. The Young Widow - Major ensemble dance at the Meryton Townhall while Mr. Darcy and Caroline Bingley stood watching. Included is when Charlotte was dancing with Mr. Bingley and when Mr. Darcy watched Elizabeth.

3. Wakefield Hunt - After Elizabeth tells Mr. Darcy that the way to encourage affection is through dancing, and she turns and walks away.

4. Duke of Gloucester's March - The arrival at the Netherfield ball when Elizabeth is walking through the house looking for Mr. Wickham.

5. The Bishop - Elizabeth's dance with Mr. Collins at the Netherfield ball.

Hope this helps anyone interested in the festive numbers, aside from these missing pieces, the score included on this soundtrack could not be any better!

Just as the new film of "Pride and Prejudice" stands in stark contrast to all previous adaptations, so does its score break away from the mold of all previous Austen-adaptation scores. Oh, yes, there's the familiar trilling piano we've grown to expect, but this score is more along the lines of a Merchant-Ivory film; aching, moody, and transcendent.

Written by Dario Marianelli and performed by pianist Jean-Yves Thibaudet, the brief score only clocks in at forty-two minutes and twenty-two seconds, but that is plenty of time for some great music. From haunting violin work ("A Postcard from Henry Purcell") to the beautiful theme for Lizzy herself ("Liz on Top of the World"), the music is rich and varied. "Arrival at Netherfield" has a jittery sense of excitement, and all the tracks composed for the dances in the film ("Meryton Townhall" and "Another Dance") are lively and joyous, as is "Can't Slow Down". "Your Hands Are Cold" is the true standout, however; sweeping, beautiful, and, like the scene it was written for, unforgettable.

The only element I think lacking is a stronger main theme for Darcy himself, which would have been nice. Really, other than that, I can find no fault with Marianelli's work. If you are a fan of the new film (or a writer looking for background music), this is a must-have.

GRADE: B+

I was wondering how many period pieces had been worked into the musical score for the latest theatrical version of Jane Austen's "Pride & Prejudice" and discovered the answer is none. Composer Dario Marianelli ("The Brothers Grimm") is working with the same instrumentation that Austen would have been familiar with, which would be a chamber orchestra and works dominated by the piano and/or strings. The result of this approach is simply to wish that more historical films employed the same approach. Marianelli also gets credit for developing his score in reaction to the novel itself before the screenplay was really developed (at least that is what I hear, and if true it deserves to be mentioned). I find the score somewhat reminiscent of Michael Nyman's for "The Piano," although that is more because of the use of the instrument, played by Jean-Yves Thibaudet most notably on tracks like "Dawn," "The Living Sculptures of Pemberly," and "Arrival to Netherfield," than on the type of piano music. There is certainly not a dominant theme to the "Pride & Prejudice" score as we have for "The Piano." Often the music is more simplistic, but this suits the purpose of finely etching out the character of Elizabeth Bennett on the piano.

The tracks are not really arranged in order of the film's chronology; for example, "Georgiana," the piano piece played by Darcy's sister that is developed into fuller concerto, comes later in the film but appears here as the sixth track, sandwiched between "The Militia Marches In" and "Arrival to Netherfield." However, by the end of the disc the final scenes of the film are played out in the established order, with "Your Hands Are Cold," "Mrs. Darcy," and the "End Credits" taking us back to the unofficial "Pride & Prejudice" theme overlayed with more luscious strings than before, similar to the effect in "Darcy's Letter." My only real complaint is that the dance music of "Meryton Townhall" sounds rather lifeless with the sound of dancing feet and clapping hands, so it remains one piece that is more effective in hearing it during the second scene on your DVD than listening to it on this CD.

The illusion that these are true period pieces is central to their success, because this score sounds classical while at the same time underscoring the romance of the film. I know so many it is outright heresy, but I consider this version of "Pride & Prejudice" to be the most romantic version I have seen to date. The main reason for my verdict is that this time around when Elizabeth walks into Netherfield with her hair down and Darcy is so stunned by her beautiful appearance, I know from that moment on that he loves her (in most versions we really have no more clue that Lizzie, and so we are all equally stunned when Darcy makes the most backhanded proposal in English literature). But this evocative score gets credit as well for never letting us forget for all the charming comedy of character, "Pride & Prejudice" is still the most popular romance of all-time (double-suicides by Veronese teenagers being worth of copious tears but not actual emulation). Just think of it as music to read Jane Austen by and that alone can justifying picking up this soundtrack.

Can we argue that: if the movie was great and the music must be great, too? The score for the Pride and Prejudice (2005) is one of the best CDs I have in my collection. If it weren't for the music, the movie wouldn't be half as good! It gives the audience a new set of things to swell into and not just watch the pictures flash by their eyes; the music just sets the different tones. There was a splash of melancholy, childishness and cheerfulness, sensuality and compelling here and there. Yes! I just fit in perfectly with the movie. Dario Marianelli's score is absolutely magnificent; he deserves this second streak of greatness (the score he'd composed for The Brothers Grimm was also amazing!)

With every track, it leaves the listener something new: either a rapidly pulsating heart or Goosebumps that just keeps running up and down your skin. The second part of DARCY'S LETTER was haunting; YOUR HANDS ARE COLD will remind the listener every details of the scene it was played in; and LIZ ON TOP OF THE WORLD has its moment when it swells at its climax, at that instant, chills ran.

The soundtrack is absolutely astounding!

I simply adored the film and the soundtrack fits the film perfectly. I am finding myself listening to it over and over. You can just visualize the best scenes...especially "Your Hands are Cold". You can feel and see Darcy emerging from the morning mist and walking towards Lizzie where he proceeds to pour his heart out to her. It is the most romantic music to the most romantic scene in a film in many years. The emotion is palpable! Buy this CD and see the movie again. Just simply the best!

One of the pleasures of movie watching, other than getting lost in the film itself, is the unexpected discovery of wonderful music. This was my experience in watching the new adaptation of "Pride and Prejudice" starring Keira Knightley and Matthew MacFadyen.

Dario Marianelli's score is both hauntingly romantic and enchanting to listen to. I had never heard of this composer before but his score for P&P reminded me of works by Patrick Doyle ("Sense and Sensibility"), Gabriel Yared ("English Patient") and the score for "Persuasion." Many tracks are sweeping and unabashedly romantic and are pieces that you will want to get lost in. There are a few that are more upbeat - music from the dance/ball scenes in the film - such as "Meryton Townhall," "Militia Marches In" and "Another Dance" - but for the most part this is romantic music that goes hand in hand with this lovely film.

My favorite tracks are "Stars and Butterflies," "Living Sculptures of Pemberly," "Liz on Top of the World," "The Secret Life of Daydreams" and "Your Hands are Cold."

If you enjoyed the film and especially if you are a fan of sweeping, romantic music, do yourself a favor and buy this excellent score. I would be very surprised if Dario Marianelli does not get an Oscar nomination for Original Score this year as this is definitely one of the best scores I have heard so far this year.

This soundtrack is a great listen for anyone who loved the movie. I thought it was great how they named the pieces after the scenes that their in. You can re-watch the movie in your mind with the music to go with it. Not being much of a classical buff, I do enjoy the elegance of it and I loved how it was light and soulful at once, feeling the deepness that the characters must have felt. I especially love track 15, Your Hands Are Cold. You can practically see Mr. Darcy walking towards Elizabeth in the dawn light. You want to hear him say how much he loves Elizabeth and how she "bewitches him body and soul". Defenitely a great purchase for anyone who is a true romantic.

I absolutely love this CD.If you are like me and need background music to concentrate and work, this is the type of CD I would recommend. I have even found myself doing little dances to it, while I am wandering around in my home. To those of you who "ballet dance" in private, this CD is perfect...graceful, soft, even haunting at times. I think it strikes me as much less upbeat than the score from the 1995 version...it might be described as melancholy (excluding 2 or 3 of the livlier pieces featuring the militia and Lydia), and I love it for that. I feel as if it could be the soundtrack to my own life. As Mr. Darcy says, "You have bewitched me, body and soul!", this cd is truly bewitching...in one word: Divine!

Composer Dario Marianelli said the spirit of Beethoven's early piano sonatas weas in his head when he composed the opening sequence, a piano score played beautifully by Jean-Yves Thibeuadet. This is appropriate as Beethoven was an exact peer to Jane Austen, whose book birthed the film treatment and gave reason for Marianelli's Oscar-nominated score.

While the film depicts the comedy of manners in 18th century England, the score represents the concept that "Pride and Prejudice" is the most romantic novel ever written. There is one probelm with that -- the period of the book precedes the romantic century -- the 19th century -- by some years and actually represents the "classical" period of the 18th century.

No matter, of course, as the score is wonderful in every sequence and often dreamily romantic. As other reviewers also suggest, it captures the essence of each film sequence it accompanies. For me, it is the best film score since "The Pianist" in that regard.

I think the score could have been reproduced better for home enjoyment, however. The recording technique, perhaps meant for theater reproduction, sometimes results in a bit of fuzzy and boomy music where either Thibeaudet or the English Chamber Orchestra appear to be playing through gossamer. It never does much to inhibit enjoyment any sequence of the music, which I wish lasted longer than about 1 minute 10 seconds on average. But that's movie music, you know.