The Fountain [Soundtrack]

Clint Mansell (Composer), Kronos Quartet (Performer), Mogwai (Performer) | Format: Audio CD

Product Details

• Performer: Kronos Quartet, Mogwai
• Composer: Clint Mansell
• Audio CD (November 21, 2006)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Soundtrack
• Label: Nonesuch
• ASIN: B000IU3YKU
• In-Print Editions: MP3 Music
• Average Customer Review: 4.9 out of 5 stars  See all reviews (87 customer reviews)
• Amazon Best Sellers Rank: #4,440 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

The Fountain is a layered, often beautiful score from composer Clint Mansell. The disc seamlessly moves from ambient drones to plaintive piano music to slowly percolating minimalist stuff to hugely swelling strings. Mansell, who's collaborated with director Aronofsky before, uses almost anything from the minor-key sonic palette available to him, with the exception of the mopey yuppie-folk and instantly dated electronica so often thrown into films. Mansell's own group, the superlative Kronos Quartet, is joined by Scottish noise act Mogwai. The use of such an arty, detuned guitar rock band as Mogwai in a big time movie soundtrack might seem weird, though of course Explosions in the Sky's work on Friday Night Lights was a harbinger. It's too soon to tell if this is an outright classic of soundtrack music in the realm of Goblin's Suspiria, John Carpenter's Escape from New York, or Popol Vuh's Aguirre. But it is definitely a subtle, melancholic work you'll want to revisit often. --Mike McGonigal

Product Description

For the soundtrack to writer-director Darren Aronofsky's long-awaited sci-fi epic, The Fountain, Kronos Quartet reunites with composer Clint Mansell. The had previously collaborated on the haunting score for Aronofsky's Requiem For A Dream.

Most Helpful Customer Reviews

83 of 88 people found the following review helpful

4.0 out of 5 stars A -- film -- score. November 30, 2006

By Jason VINE™ VOICE

Format:Audio CD

...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.

114 of 123 people found the following review helpful

5.0 out of 5 stars A brooding,powerful follow-up to"Requiem.." November 28, 2006

By Trottin'-Butterz VINE™ VOICE

Format:Audio CD|Amazon Verified Purchase

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.

9 of 10 people found the following review helpful

5.0 out of 5 stars inventive and thoughtful January 25, 2007

By a_guy_in_boston

Format:Audio CD|Amazon Verified Purchase

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.