Third Person Soundtrack Review: This is a review of the film score Third Person by Dario Marianelli.
At a glance:
54 minutes of score
Geek Score: 83.7
Total Minutes Of Excellence: 15.08
Album Excellence: 28%
Third Person is a 2013 British-German-American romantic drama film directed by Paul Haggis and starring Liam Neeson, Mila Kunis and Adrien Brody. Michael (Liam Neeson) is a Pulitzer Prize-winning fiction author who has holed himself up in a hotel suite in Paris to finish his latest book. He recently left his wife, Elaine (Kim Basinger), and is having a tempestuous affair with Anna (Olivia Wilde), an ambitious young journalist who wants to write and publish fiction. At the same time, Scott (Adrien Brody), a shady American businessman, is in Italy to steal designs from fashion houses. Hating everything Italian, Scott wanders into the Café American” in search of something familiar to eat. There, he meets Monika (Moran Atias), a beautiful Roma woman, who is about to be reunited with her young daughter. When the money she has saved to pay her daughter’s smuggler is stolen, Scott feels compelled to help. They take off together for a dangerous town in Southern Italy, where Scott starts to suspect that he is the patsy in an elaborate con game. The score is composed by Dario Marianelli.
I’ve heard some mixed things about this score, but as with all Marianelli scores, some anticipation is building up. It starts with ‘A Tale Of Three Cities’ which opens with an innocent piano motif, but soon a funk bass is put underneath and glass percussion pierce the veil of what might have been something calm. The calmness turns to drama with high pitched woodwinds, forceful, strong jabs. Interesting and quite good I have to say. ‘Lady In Red’ feels more dreamy, at least in the beginning. There’s even a harpsichord in there. The second half is more dramatic with a piano build up. Still enjoying this, but not loving it so far. Calmness turns to beauty finally with ‘Hotel Games’, a strong violin solo helps of course. It’s getting more interesting now while keeping it slow and beautiful in guitar heavy ‘Shoelaces’ which initially opens with piano and has a stint of harpsichord in there. It’s very dreamy and beautiful. Ok, I’m now officially loving the score with ‘The Note’ which brings calmness, but also brings power and love into a strong message with power chords and beautiful motifs. Granted the second half is weaker than the first half, but it’s still a great cue.
Hah, ‘Yellow Cabs’ is fun starting off like any normal cue, but in the middle it switch to big city jazz, yeah that’s awesome. Apart from that cue, the score shifted from beautiful to serviceable after ‘The Note’ which is sad. I enjoy this score though because it’s different than most scores. It’s not loud, in fact it’s very calm and the piano is used again and again in a calming manner. I need scores like this from time to time and although it annoys me how great this score could have become, I’m settling for quite good and to some degree quite excellent. The quality falls a bit after the first 6 cues, but the quality remains really good throughout (with a few exceptions). It only got boring a couple of times, so I can’t complain about that. Musically it is a calm and enjoyable little score.
3. Hotel Games
6. The Note
8. Yellow Cabs
15. Michael’s Story