MovieChat Forums > Le mépris (1964) Discussion > The score sounds familiar

The score sounds familiar


I watched this movie for the first time th other day (finishing out my Criterion Collection of Jean-Luc Godard) and the score sounds very familiar. Would I have heard that before in another film (possibly as an homage) or is it from a certain composer and am not thinking of it? It sounds so familiar but I just can't seem to place it.

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For me, the music (by George Delerue) is so strangely haunting and beautiful in a way that it makes you think, you heard it before, even if you haven't... That was the effect on me: "I know this... I know this..."
But it was also used many times in different areas, art installations etc. And I think, Scorsese used it in "Casino", if I'm not wrong...

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You're right, Scorsese used it in the end credits for "Casino". That was driving me crazy while I was watching it, it took me like an hour to figure out where I heard the music from.

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i think they also used the score on saved by teh bell

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reminded me of the music from the closing scene in Platoon.

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Because it is the same composer;Georges Delerue.

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Wasn't "Platoon" Samuel Barber's Adagio for Strings?

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It reminded me of the score for Gattaca by Michael Nyman

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scorsese used it two or three times during the film and over the end credits.

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IMO, the score of Mulholland Drive is quite similiar at times (e.g. the opening)

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Most people recognize it because of its heavy usage in Casino, which was not just during the closing credits as stated above, but was quite prominent throughout the lowest moments in the deniro-stone relationship. Le Mepis is one of Scorcese favorite films and he may also have enjoyed the parallel of the disintegrating relationships/lack of communication

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The score is very lush and sounds like it was meant for a David Lean style romantic epic, yet it doesn't really fit the images of marital breakdown onscreen, however I suspect this was intentional on Godard's part.

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Er, Albinoni's Adagio in G minor?

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Contempt from Naked City/John Zorn's self-titled.

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