The highly anticipated drama The Killing Of A Sacred Deer reunites writer/director Yorgos Lanthimos (The Lobster) with Colin Farrell. The film tells the story of Steven, a charismatic surgeon forced to make an unthinkable sacrifice after his life starts to fall apart and the behavior of a teenage boy he has taken under his wing turns for the worst. The film also stars Nicole Kidman, Alicia Silverstone and Raffey Cassidy. This new exciting chapter in the career of one of the most original directors working today features an eclectic soundtrack ranging from pieces of classical music by the likes of J.S Bach, Franz Schubert and Gyorgy Ligeti, to score cues by accordion player Janne Raettya . The album will also include the song “Burn” (Ellie Goulding) performed by Raffey Cassidy. Distributor A24 will release The Killing Of Sacred Deer in New York and Los Angeles on October 27th and will expand nationwide on November 3rd.
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4.84 x 5.63 x 0.47 inches; 3.53 Ounces
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Reviewed in the United States 🇺🇸 on November 12, 2017
First, an introduction to the film itself: Lanthimos’ The Killing of a Sacred Deer is a brutal, mythological mix of the lessons of both The Bacchae and Iphegenia, lessons which delve deeply into the inability of science and reason to grapple with tragedy in a world of guilt, obsession and sterile social conformity.
I *strongly* recommend anyone who wishes to see this film to watch Michael Cacoyannis’ Iphegenia (based on Euripides) before seeing Lanthimos’ film.
Fundamentally, it is about a man unwilling (or unable) to come to grips with his collapsing world view and his imploding view of himself. Lots of great details hinting at the religious themes are sprinkled throughout the film, the homophobic self-hatred subtext winds up coming to the top. Like Pentheus in The Bacchae, Colin Farrell’s Doctor is the ultimate rationalist who is destroyed by his inflexible rationality in the face of the Irrational Universe. Like Agamemnon in Iphegenia he is far too proud to admit fault or defeat until, in true Greek tragic style, it is too late. The other characters display a variety of reactions to the incomprehensible tragedy engulfing them - ranging from ignoring and being suspicious of the world around them, to bargaining, to frenzied obsession, to complete and utter capitulation and surrender.
* * * * * SPOILERS BELOW * * * * *
Now, about the Soundtrack: Like Cuarón and Malik, Lanthimos’ film score selections are not simply evocative, but are part of the keys to the puzzle, they are another character, another actor, not just decoration. The heavy reliance on religious works carries the film's themes forward as well as furthers the "mood". (Penderecki's Utrenja might have worked well here too.) But Lanthimos is doing far more than just mood setting (which is what Kubrick does with his use of decontextualized music in his great works) - Lanthimos is adding a rich layer of commentary onto the film itself. Here the background knowledge of each work itself is critical. As an example of this, the final chorus (perfectly suited to the final scene), from Bach's St. John Passion, sums it all up nicely:
Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Dass du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!
Lord, our ruler, whose glory is magnificent everywhere! Show us through your passion, that you, the true son of God, at all times even in the most lowly state, are glorified.
In the final scene in the diner, the survivors assemble, humbled by their encounter with the Divine which has utterly destabilized their world. The prophet or god enters and takes his seat above them; he is now their ruler. They will never simply return to the world of rationality and order and convention. The blood is split (symbolically) - the sacrifice is made, and the survivors file out silently as the god or prophet reigns in triumph.
Like Euripides and Cacoyannis’ works, whether or not there really is a “supernatural” is irrelevant. What matters is how we grapple with it and how it transforms us, in turn.
Reviewed in the United States 🇺🇸 on December 30, 2017
The soundtrack to "The Killing Of A Sacred Deer" is pretty good. This is a pretty good soundtrack with a pretty good collection of songs on it. It is solid, well-done and decently entertaining. All (14) tracks on here are pretty good.
Track Listing: 1. Stabat Mater, D 383: I. "Jesus Christus schwebt am Kreuzel" - Michel Corboz (4 out of 4 stars) 2. Carol of the Bells - Lachey Arts Choir (3 out of 4 stars) 3. Rejoice!: IV. And He Returned To His Own Abode - Oleh Krysa & Torleif Thedeen (4 out of 4 stars) 4. Burn - Raffey Cassidy (3 out of 4 stars) 5. De Profundis - Janne Rättyä (4 out of 4 stars) 6. Hecatone - Johnnie Burn (4 out of 4 stars) 7. St. John Passion, BWV 245: No. 1, Chorus, "Herr, unser Herrscher" - Münchener Bach-Orchestera (4 out of 4 stars) 8. Piano Concerto: II. Lento e deserto - Piette-Laurent Aimard (4 out of 4 stars) 9. Et Exspecto: I. Movement - Janne Rättyä (4 out of 4 stars) 10. Fachwerk - Trondheim Symphony Orchestra (4 out of 4 stars) 11. Enantiodromia for Orchestra - Oakland Symphony Orchestra (4 out of 4 stars) 12. Konzert für Violoncello und Orchester - Siegfried Palm (4 out of 4 stars) 13. The Gherkin Train - Joe Smith & the Spicy Pickles (4 out of 4 stars) 14. How Long Will I Love You - Ellie Goulding (4 out of 4 stars)
This ost has almost stock Kubrickian Ligeti, but the accordion tracks are absolutely incredible and my reason for seeking it out. They are so perfect for the movie, and propel the experience, there are some similarities with the Exorcist, and obviously Kubrick this is an ost of the highest consideration.
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