Soundtrack Howards End (1992) - The Basts / Spring Landscape
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- Опубліковано 15 лис 2014
- Música "The Basts / Spring Landscape", que integra a trilha sonora do filme "Howards End" (1992). Composta por Richard Robbins.
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I'm so glad that the composer understood the great, almost mystical drama that underlies Howards End. I think it would be easy to make a soundtrack that was staid and calm to suit the superficial 'Edwardian class story' aspect of the story. But, no, he realized it was an epic, and so he made epic music.
Almost every soundtrack nowadays is calm and staid with no personality. Maybe it’s time to recycle some of the old greats for the new films-different arrangements and keys and edits-but still the same overall soundtracks.
Yes... it's unrelated the era, in many , many ways. The film is everything, has every facet of what being human means and what matters to all.
But it's anything but superficial, the film is everything that really matters
Contains some of the very greatest musical moments in any film. The death of the matriarch is the most perfect music possible for the scene. The French horn. I gasped when I first heard it in the theater.
Agreed. When the French horn sounds, you don't need to be told what has happened: it's evident.
One of my top 3 scenes in movie history. Perfection…..
almost the exact same chords as "clive and anne" from maurice - still so magical and heartbreaking
5:20 and on. “What was that you said, dear?” “Nothing…I was just rehearsing something from a speech.”
5:13-6:02 is so beautiful
yes! i feel like i'm waltzing in a garden lol
I so want to walk down the aisle to that piece of music!!!
And 6:45
The scene when Leonard imagines walking through the lavender. (or Salvia....a purple flower of some sort)
Hello Gralyn. Just wanted to know if you walked down the aisle, like you said you would do one day, with ‘Howards End’ soundtrack in the background.
beautiful thank you for posting
In the visually arresting adaptation of E.M. Forster's "Howards End," the film deftly unearths the insidious nature of the class system that pervaded early 20th-century British society. One scene, in particular, stands as a scathing indictment of this rigid hierarchy: Leonard Bast's attempt to transcend his social confines by pointing out the constellations to his wife on a rooftop. This moment, starkly juxtaposed against the encroaching urban landscape, serves as a poignant metaphor for Bast's smothered aspirations. The towering buildings that hem them in are not merely physical structures but emblematic of an oppressive societal structure that stifles ambition and enforces a rigid class stratification.
The film's portrayal of Bast's plight is a trenchant critique of the class system's cruel arbitrariness. It lays bare the tragic reality that, under such a regime, an individual's potential is not just unfulfilled but actively suffocated. This scene, therefore, is not just a narrative pivot but a powerful visual allegory of the class system's dehumanizing effect, underscoring the tragic futility faced by those like Bast who dare to aspire beyond the stringent confines of their assigned social station. The film, through such masterful storytelling and symbolism, becomes a sharp, enduring rebuke of classist structures, resonating profoundly with contemporary audiences who witness similar social dynamics in various forms today.
Let's face it, the film versions of A.R.W.A.V, Maurice and Howards End are essentially a trilogy - thematically [truth of self, the connection/dialectic of heretofore socially incongruous persons] and Robbins weaves a particular musical continuity between the three, culminating in Howards End finding that golden mean between the sunny outcome of 'A Room' and the darker, less resolved social realities of Maurice (remember, in 1910, an unmarried single mother of the bourgeois British class would have been a scandalous figure; Wilcox, whose entire sense of privilege has been unravelled by the end of the film, has no choice BUT to cede to Margaret's bequeathing of the house to her nephew (Helen's son by Leonard Bast).
it has a Philip Glass style
I thought so too!
Haha. I love ua-cam.com/video/eyW6JCdDM-4/v-deo.html . As I commented there, it goes from "Beethoven to Philip Glass in less than a minute " :)
The complete film
5:12
Why ?