Every Thing Will Be Fine Soundtrack Review: This is a review of the film score Every Thing Will Be Fine by Alexandre Desplat.
At a glance:
Geek Score: 72
Total Minutes Of Excellence: 2.7
Album Excellence: 6.1%
Every Thing Will Be Fine is a 2015 German drama film directed by Wim Wenders and starring James Franco, Charlotte Gainsbourg and Rachel McAdams. While driving aimlessly after a quarrel with his girlfriend, a writer accidentally runs over and kills a child. The accident and its aftermath deeply traumatizes him. Over the next 12 years, he struggles to make sense of what happened and continue on with life, but when he looks in the mirror, he sees a murderer. The score is composed by Alexandre Desplat.
Having recently heard Suffragette and not being too impressed by it, Desplat gets a new chance with another drama. Technically this score was released before Suffragette, but hey, nothing to do with listening order. Judging by the synopsis this will be a world of tears, but I hope at least there will be good tears musically. The score opens with ‘Every Thing Will Be Fine’ and it starts a bit hopeful, but I have to admit that halfway in, I’m ready to drown my sorrows already. It sounds heartbreaking. A good opener with lots of unanswered questions to be answered (hopefully). More sorrow in ‘The House In The Snow’, but I think it’s just the start. ‘The Accident’ tells it all really. The downward swirling spiral of strings. Oh yes, that’s the abyss, the endless pit of sorrow and self hatred. Desplat scores it well. I’m thinking of Bernard Herrmann when I hear it, but of course it would have sounded a lot better with Herrmann scoring.
The score admittedly drags a bit long with basically similar musical structures for the most part. Yes it’s dark I understand that, but even in darkness, there is a lot of room for the music to live, to breathe. I feel the music is not coming alive at all, quite the opposite. There are a number of good cues on the score, but sadly the negativity takes over a bit in this review and I’m sorry about that. Check out Charlie Clouser’s score for Wayward Pines, now that’s a dark and brilliant score, one that works standalone and in context. ‘Summer’ is one cue that I really like though. The solo violin works great against a layer of coordinated strings. I love the off-beat melody as well, mysterious and creative. In the final cue ‘Reconciliation’ something wonderful happens around 2:30 where the music springs to life with seemingly small touches like the swirling violin, but it makes all the difference. What if it was more of that? Yeah then we would be talking about something else entirely. What do you think of the score?