![]() But luckily there is some room for a little melody in other tracks. Some tracks, such as “The Boche, “Tripwire” and “The Rapids”, contain only ambient sounds and there is not much melody and rhythm to be found in them, which makes them uninteresting for me to listen to outside of the movie. “Lockhouse” also contains a similar rhythmic soundscape. ![]() The biggest example of a track like that is “Up the Down Trench,” with rhythmic patterns that remind me a lot of Hans Zimmer’s “Supermarine” from Dunkirk. ![]() The majority of the music on the album consists of soundscapes and textures to provide an underscore for the movie. ![]() To write the music for such a movie must have been quite a challenge. As a side effect, the pace of the movie is in real-time. The whole movie was shot in such a way that the camera follows them as they move, giving the audience the impression that all has been shot in a single take, with the cameraman being the witness of the whole journey. 1917 would be a very different movie though, where during The Great War, two English soldiers have to cross through German-occupied territory as fast as possible to deliver a message. Some of his movies had amazing scores, featuring Newman’s famous piano melodies that I love, such as American Beauty and The Road to Perdition. Composer Thomas Newman has been collaborating with Mendez since Mendez’s first film American Beauty. It is nominated for 10 Oscars, including best film, best director and, of course, best music. The movie 1917, directed by Sam Mendez, is a major hit in theatres. ![]()
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