Gilbey on Film: the greatest movie scores

And does "A Single Man" boast this year's finest music?

If you find yourself losing faith in the subtlety of film music, allow me to suggest a few composers with restorative powers. Like the couple in a recent New Yorker cartoon who stroll unwittingly from the pastures marked "rock" through to "pop" and then "easy listening" (caption: "They never even knew"), the once-intriguing Danny Elfman, a regular Tim Burton collaborator, has lapsed -- perhaps irretrievably -- into mediocrity.

But Carter Burwell is still on the money. Burwell is best known for his work with the Coen brothers -- he's scored every one of their films, from 1984's Blood Simple to last year's A Serious Man.

My favourite scores of his can be heard in Rob Roy (this is how good he is: he makes Celtic pipes palatable), Adaptation and especially Before the Devil Knows You're Dead (where Burwell was called in at the 11th hour to replace another composer's score).

I was going to add The Hi-Lo Country: I can still hum that one despite not having seen Stephen Frears's film for over a decade. But on reflection, it's not a good fit. It's very grand and rousing, whereas those descriptions don't pertain to anything in the characters or story; you can't tell what the music is expressing.

It's not Burwell's fault, nor is it a slight on his work. Pure speculation alert: I wonder if the music was brought in once everyone realised that no one in the movie was particularly heroic, nor did they want to be. The idea may have been to get the audience excited, and hope they wouldn't realise until they got home that there was nothing on screen to be excited about.

Surely a fundamental rule of any score is that it has to have a correlation to what we're watching; otherwise it floats free of the movie, and can be as incongruous as an unnatural light source or a visible boom mic. Stuart Staples of Tindersticks has done some incredible work for Claire Denis, including her new film White Material (which I review in the next NS).

Check out the Tindersticks' score for Denis's last film, 35 Shots of Rum, where it ebbs and flows in gorgeous synchronicity with the performances, camerawork and editing -- a model not only of how to compose great film music, but of how to weave it into the action.

I also rest easy when I see on the opening credits of a film the names Alexandre Desplat (best scores: Birth and Lust, Caution) or Mychael Danna (The Ice Storm, Capote and 8MM -- the latter a classic case of great score/dud movie).

A contender for the finest film music of this year is the score for A Single Man, Tom Ford's adaptation of Christopher Isherwood's novel about a gay professor in early 1960s Los Angeles, mourning the death of his lover. (The film has just been released on DVD.) I should clarify "finest" by explaining that this score seems to emerge fully and organically from the movie, with no suggestion that it wasn't in fact generated spontaneously by the images, or vice versa.

"The music was an extension of George," Ford told me last year.

I was thinking about it as I was writing and shooting. Violins I knew I wanted to be prominent because they're the most human instrument; they can convey the most incredible sadness and also joy. Shigeru Umebayashi, a brilliant Japanese composer, wrote three pieces; he works with Wong Kar-Wai a lot, he's incredible. And Abel Korzeniowski is a Polish composer in Los Angeles, he's also incredible: he scores not just action but emotions. That's a crucial device in helping the audience know what George is feeling. Abel is the difference between someone scoring and just composing. When I was working with him, I was saying, 'This is great, but I need more.' And he said, 'More? Usually I get asked for something that just goes away into the background.' That's incredible! Why have music that just fades away, fills space?

"Often a finished film can be a slight disappointment," Firth chipped in,

or it might go off in a different direction to the one you'd anticipated. But the musical choices in A Single Man conformed to what I felt the film should be. Very rarely have I heard music on a score that reflected what the film felt like to make. If the music is an extension of George's thoughts, then it's bang on. It could not be more right. When I heard it for the first time, I had this strange idea that I'd sung it or something because it felt like it had come out of the character. To feel that this was what Abel was doing, following the thought processes of the character -- well, that really made sense. I want to meet this guy, because I really feel like we worked together. And you almost never feel that.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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Laid in America: how two YouTubers made a mainstream sex-comedy for children

Caspar Lee and KSI's new movie is officially rated 15, but digital downloading means their young audiences have easy access. 

It’s not that expectations are high when it comes to YouTube movies. Despite being released by Universal Studios, vloggers Caspar Lee and KSI’s latest feature film Laid In America always looked set to be cheap and cheerful rather than a cultural blockbuster. It’s just that the opening scene of the movie – in which KSI humps a blow-up sex doll doggy style while forcing its head down on Caspar Lee’s crotch, before ejaculating into his own boxers – jars a little when you consider the relative age of the pair’s fan bases.

Caspar Lee is a 22-year-old South African YouTuber whose prank videos and vlogs have earnt him 6.79 million subscribers. KSI – real name Olajide Olatunji – is a year older and has double the influence, with 14.64 million people subscribed to his video gaming channel. Although YouTube doesn’t allow the public to see the demographics of any particular YouTuber’s audience, videos of Olatunji and Lee’s meet-and-greets with fans reveal that the former is idolised by teenage boys and the latter beloved of pre-teen and teenage girls. Search “Caspar Lee book review” on YouTube and the first non-branded result shows a very young girl waxing lyrical about the star.

KSI and a 13-year-old fan, via kalabza1973

Despite Laid in America’s Red Band trailer and raunchy premise – of two English students in America desperately trying to lose their virginity, à la American pie – it seems the filmmakers, Bad Weather Films and The Fun Group, are aware of the pair’s audiences. The movie premieres tonight at the O2 in London and is then available for digital download only. This isn’t a reflection on the limited influence of YouTubers – whose transformation of the publishing industry alone shows they could easily sell out cinemas – but a savvy business decision that allows children to watch a film that has been rated 15 by the British Board of Film Classification. Rather than trying to sneak into a cinema, kids can affectively undo 104 years of film classification history with just a few clicks.

It’s not that it’s particularly shocking that 12-year-olds can easily watch this gross-out comedy complete with the requisite sex party, dwarf in a cage, plethora of swear words, and obligatory “That… was… awesome!”. No, the most offensive thing about the film (aside from KSI’s abysmal acting) isn’t the sex, it’s the sexism.

“Tabitha is a complete BLOB,” says Duncan (Olatunji) when Jack (Lee) asks why, if he’s so desperate to lose his virginity, he doesn’t sleep with the girl who keeps passing him love notes. “You know that girl that you’d never have sex with and then the night is coming to an end and you run out of options? … Basic Last Option Bae. BLOB.”

The credentials that make Tabitha a BLOB, appear to be – to the naked eye – that she is not tall, she is a normal weight, and she doesn’t wear concealer under her eyes. Heather Cowles, the actress who plays her, is in fact so attractive that you almost wish they’d gone down the old-fashioned fat-suit and fake-acne line. When a preteen girl who idolises YouTubers so much that she sets them as her profile picture watches them mock and deride what is essentially a normal looking girl, how will they feel?

Caspar Lee with fans at a book signing via Getty

There are a multitude of similar instances in the movie. “Did you get a chance to experience any American girls?” asks Jack and Duncan’s headmaster in one of the opening scenes of the film, as headmasters are wont to do. When the duo reveal they are both virgins, the principal acts shocked. “No girls? Not even fat girls?” he says.

None of this would be particularly damaging to the normal, adult audiences of similar Hollywood comedies. But YouTubers have an incredible influence over their fans, so much so that brands are willing to pay between £20,000 and £50,000 for them to recommend a single product in their videos. It seems a shame that this influence will be used to increase the insecurities of young girls and reinforce, yet again, that Sex Is Everything to young boys.

The attitudes to women in the film are beyond outdated. To begin with, Duncan and Jack need to “find hot girls” in order to be allowed into cool-kid Tucker Jones’ party. From this point on, women are a commodity. “The more money we appear to have, the hotter girls we’ll get,” says one of the stars – god, don’t ask me which – when the pair try out a dating app. Next we see them ride a Boober (like an Uber, but with two complimentary large-chested girls), leave a woman passed out in her lingerie after she hits her head, and be rewarded with sex for – and truly, romance is dying, dying, dead as I write this – telling a girl’s ex-boyfriend that she’s “not a bitch”.

But surely, surely, in 2016 this is all redeemed by a heartfelt message about how actually, losing your virginity and “getting” hot girls isn’t everything? No such luck. The ending of the film is basically softcore porn, though the final shot features Jack and Duncan riding a Segway shouting: “We go in your country and take your women!” They saw. They conquered. They came. 

It's not yet apparent whether the film will be a commercial success, though the pair think that if it is, other studios will also begin making download-only films. "I guess the studios will be like, 'Oh this worked, let's try this' and follow," KSI told the BBC. If this is the case, hopefully more consideration will be put into making movies with a positive message for YouTubers' young audiences. 

 

Amelia Tait is a technology and digital culture writer at the New Statesman.