Trishna (Michael Winterbottom, 2011)

*This is part of my London Film Festival 2011 coverage. Four Films, Four Days ...

"Can't you do this one thing for me... after all I've done for you..."

Introduction

Michael Winterbottom has now adapted three Thomas Hardy novels. In 1996, Winterbottom directed Jude starring Christopher Eccleston and Kate Winslet, adapted from Hardy's Jude the Obscure. In 2000, he directed The Claim with a screenplay by Frank Cottrell Boyce adapting The Mayor of Casterbridge. This is his third venture into Hardy's literature - and it is one of Hardy's most critically-acclaimed pieces - Tess of d'Urbervilles. This was a controversial novel in it's day - 1891 - with lots of censorship and recieving intially mixed-reviews. But Winterbottom is no stranger to controversy as only last year he directed The Killer Inside Me, a film which portrayed scenes of extreme, relentless violence whilst in 2004, his film 9 Songs  courted controversy as it included multiple scenes that included the lead actors having sexual intercourse and scenes of ejaculation. Trishna may not appear controversial but, upon closer inspection, the idea of portraying an unmarried couple in India having passionate-sex within traditional Indian palaces whilst wearing - and taking off - cultural clothes, created to decorate the woman but crucially, to hide the female skin ... it seems we are in controversial territory again. The question is whether it has purpose.

We are in safe hands as our two leads actors are Slumdog Millionnaire's Frieda Pinto and Four Lion's Riz Ahmed. Pinto chosen for her young, innocent look - that demands attention as she becomes deeper and further involved with Ahmed. Ahmed chosen as, akin to his role in Four Lions, he is playing a role that, though distasteful, we appreciate how likable he is, and why Pinto is attracted to him.

Incredible Soundtrack #1: A Single Man (Korzeniowski/Umebayashi)

The music attached to a film creates the environment, I believe, moreso than the literal environment depicted through the visuals. So often you hear how a track changes the entire look and feel of a situation - a sequence that appears up-beat and positive is shifted to become a sequence of fear and dread. It looks exactly the same, the soundtrack simply changes the 'world' it is set within.

One soundtrack I feel has not had enough recognition is the incredible score and soundtrack to A Single Man by Korzeniowski. I feel that, inevitably, we will come across the big-guns like John Williams, Hans Zimmer and James Newton-Howard, so lets start with an unknown.

Korzeniowski's mother played the Cello, and it does not suprise me as his use of strings is stunning. The film itself is dreamlike and hazy - nostalgia and detachment combined. This is the mood that is captured as the strings remind me of Bernard Herrman which I am positive is the primary inspiration for the score - to the point that the score features a variation on Scotty tailing Madeline (from Vertigo).

Personally, since I have purchased the soundtrack, I have listened to it many, many times. More importantly, I have listened to the album from start to finish - every track, unto itself.

A selection of highlights that may just tempt you to hunt it down yourself.

10. Carlos - bold, definitive and striking. It demands attention.

15. Swimming  - I thought I was going to think this track was 'the best' on the album when I purchased it. Though it is full of life and almost gives you the freedom the characters had in the film, the fact that it is not 'the best' track on the album simply states how good the album is. I think this track is as good as I hoped - its just that every other track is much better.



17. George's Waltz (2)  - this is my favourite track and, interestingly, it is not Korzeniowski who scored this but Umebayashi. The single violin pulls at your emotions - always forcing me to raise my hand in false-orchestration.


Enjoy the music and hunt the album down immediately...