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Frida

 

 

Frida (2002)

Composer(s):
Elliot Goldenthal 

Released in:
2002

Reviews
Goldenthal's Tribute To Mexico
by a soundtrack collector (June 20, 2003)
Elliot Goldenthal continues to amaze. Out of all the scores he's written to date, never has he written a score so melodic and rhythmic. Often, a composer's best works come from those projects where the composer possesses true passion. Goldenthal had a real love affair writing the music, and it's very well displayed when listened to.
The score is mostly performed by a variety of Mexican guitars and a small string ensemble. "The Floating Bed," "Self-Portrait With Hair Down," and "Solo Tu" are good examples of some of the impressive guitar writing Goldenthal did. Another noteworthy track is "La Cavalera" where "soundless" guitars, marimba, strings, and a coyote howl imitation blend to create a bizarre feeling yet manage to preserve rhythm at the same time.
Lila Downs provides some amazing vocal work. Her voice in "Benediction and Dream" and "Alcoba Azul" is strong and, especially in "Estrella Oscura," haunting. She had become a major asset to the project; her voice is simply incredible to hear.
The mentioned "Alcoba Azul" and "Viva La Vida" are two songs where Goldenthal provides his music. These songs had to be written during pre-production, as they had to be performed in the film. The final song, "Burn It Blue," combines his themes and the lyrics of wife-director Julie Taymor; performed by Lila Downs and Brazilian Caetano Veloso, the song provides for a very satisfying conclusion.
The Mexican songs that are contained in the soundtrack release are perfect. Two of the songs were performed by Chavela Vargas, who was actually one of Frida's lovers. Her song "La Llorona" is just beautiful to hear. For an 80-year-old, her voice still has the ability to bring tears to ones eyes. Even Salma Hayek provides her vocal talents in "La Bruja." All of the songs were chosen not only to reflect the period but to display the kind of music that Frida and Diego have and may have listened to.
Elliot Goldenthal won a deserved Academy Award and Golden Globe for his work, which I feel was a nice payback after his score for Michael Collins, another melodic and ethnic score for a biopic, lost out to The English Patient. Some people still refuse to believe that he won. There are three reasons why he won: it stood out among the other four nominees, it stood out among all the other scores he wrote, and it is recognition for the love he put into this project. There is also a complaint that the music was "Hollywood"-ized and uninteresting. Well, who expected him to write the music that resulted? Some say it's not authentic Mexican music. Goldenthal proclaims, "It's authentic Goldenthal."
This is Goldenthal's tribute to Mexico . . . and he might never write something this melodic for a long while. By the way, his constant diversity is another reason why he won. Just a little afterthought.



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