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The Fountain

4.9 out of 5 stars 113 customer reviews

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Audio CD, November 21, 2006
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Editorial Reviews

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.

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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
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Product Details

  • Audio CD (November 21, 2006)
  • Number of Discs: 1
  • Label: Nonesuch
  • ASIN: B000IU3YKU
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (113 customer reviews)
  • Amazon Best Sellers Rank: #88,327 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

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.
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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.
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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.
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This soundtrack is absolutely beautiful...my husband would play it on repeat via YouTube, but our internet connection wasn't the greatest, so it would cut out sometimes while he was listening to it. Now he can listen to this soundtrack anytime without having to worry about this. He was touched by this gift, and really appreciates that he can play it all the way through without interruption. The songs are beautifully composed and so soothing to listen to. We both really like this collection of songs and listen to it often.
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Format: Audio CD
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.
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