![]() I think that's what makes it so appealing and relatable. He is composing music that is acting and reating to the plot. It's such a unique thing to see the music act, because that is literally what Desplat is doing. The music literally becomes scared just as Oskar becomes scared. When the music needs to express tragedy it becomes scared. The moments of beauty are so intense that they flourish with human spirit in a way only music can express. It's quite stunning and in the end makes you feel emotionally vulnerable. We see every inch of him inside and what is racing through his mind. ![]() When I say that I don't mean it's wall to wall music, but the music is every inch of Oskar's character turned inside out. ![]() This music is quite rigid and establishes its presence without ever really backing down. I think what caught me off guard initially is how bold the score was. You feel Oskar's emotions through every inch of this journey and the music is there every step of the way. It's such a rich story with such an identifiable character. This film emotionally affected me the most in 2011. The string work is simple yet stunning and the piano accents the score brilliantly in that grand Desplat fashion. ![]() The score is absolutely stunning and so full of constantly moving music that propels you on Oskar's journey that he takes in the film. Some people may say that claim is a bit of a stretch, but after experiencing this score and then the picture I became emotionally dissected by the music. Alexandre Desplat ended 2011 with what may be his finest work to date.
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