Operation Finale (Original Motion Picture Soundtrack) Alexandre Desplat

• 1 Operation Finale 02:28
• 2 Sacrificed Children 01:44
• 3 Nazis Rising 05:18
• 4 Malkin's Memories 03:40
• 5 Setting Up Operations 06:06
• 6 Stakeout 06:32
• 7 Death 01:17
• 8 Killing in the Woods 01:36
• 9 Race to Airport 02:02
• 10 Solingen Blade 04:36
• 11 Number 45326 02:48
• 12 The Monster 04:54
• 13 Lost Children 03:14
• 14 Air Control 03:53
• 15 To Israel 03:05
• 16 Operation Finale (Orchestral) 02:28
• 17 Sorrow 02:24
• Total Runtime 58:05

Info zu Operation Finale (Original Motion Picture Soundtrack)

“Operation Finale” is an upcoming American historical drama film directed by Chris Weitz and written by Matthew Orton. The film stars Oscar Isaac as Peter Malkin and Ben Kingsley as Adolf Eichmann, with Lior Raz, Mélanie Laurent, Nick Kroll, and Joe Alwyn in supporting roles. The plot follows the story of the Jewish Nazi hunters sent out to find and capture former SS officer Adolf Eichmann in 1960. Alexandre Desplat wrote the score.

The opening cue which bears the name of the score hits me instantly with how purely Desplat it is; in 2017 his output has been different, varied, with a greater depth and I had kind of forgotten why I usually couldn’t connect with a Desplat score. The Wes Anderson like quirks of this particular cue, with what sounds like a xylophone and also a short military motif puts me in a state of unease. It’s a personal thing, this sound is not my cup of tea. It also dilutes the drama of story as after such an opening which makes me think more of a dark comedy comes “Sacrificed children”, a more tempered piece, with a somber choir and a haunting violin motif which should have had a bigger emotional impact on me. I should also point out that I am usually not a bug fan of military scores, of that dry marching percussion, of those cold vibes. I admit “Nazi’s rising” gives me chills and makes me feel uncomfortable which means the composer reaches his goal without me necessarily enjoying the music.

I warm up to the score when I hear “Malkin’s memories” with its reflective piano motif and the tense string background. Once again the mood isn’t just emotional as Desplat sneaks in some of his quirky mannerisms and puts a question mark on everything; the music makes me think of people investigating, not staying put, of somebody searching continuously for something and the focus of the score is more on these actions than on thoughts and emotions. This is why Desplat’s music is 90% of the time way more enjoyable in the context of the movie then on its own: without the supporting images and story for me the music often feels repetitive and I don’t mean within this score but in the larger picture of Desplat’s career.

Every now and then though a cue like “Death” comes along and I can find no fault in it. This is like a negative picture of “Malkin’s memories” where the roles get reversed between instruments; this time the violin gets center stage and the piano provides the tense background. Nuggets like this are the most enjoyable moments from “Operation finale” for me.

Alexandre Desplat wrote a score that is, in a way, classic for him; fans of his quirks and jumpy pace will undoubtedly enjoy this one both in the movie and on its own; the composer knows these paths so well that I am sure writing a score like this is easy for him. He has developed this sound for years and he never fails to provide the most faithful companion the on screen story needs. The standalone listening experience for me though was not very fulfilling. (Source: soundtrackdreams.com)

Alexandre Desplat
geboren am 23. August 1961 in Paris, erhielt bereits als Kind Unterricht in verschiedenen Musikinstrumenten (u.a. Klavier und Trompete). Schon in jungen Jahren begann er, eigene Stück zu komponieren; nach seinem Schulabschluss studierte er am renommierten Conservatoire de Paris sowie an den Ateliers UPIC in Mont-Saint-Aignan. In Los Angeles studierte er zudem Orchestrierung bei dem Komponisten Jack Hayes.

Mitte der 1980er Jahre begann Desplat, Musik für Film- und Fernsehproduktionen zu komponieren. Nachdem er viele Jahre vor allem in Frankreich tätig war, wurde er mit der Musik zu dem preisgekrönten Historienfilm "Girl with a Pearl Earring" ("Das Mädchen mit dem Perlenohrring", UK/LU 2003) auch internationale berühmt. Bei der Berlinale 2005 zeichnete ihn die Jury für seine Musik zu Jacques Audiards "De battre mon coeur s'est arrêté" ("Der wilde Schlag meines Herzens", FR 2005) mit dem Silbernen Bären für die Beste Musik aus. Für diese Musik erhielt er zudem den französischen Filmpreis César. Zwei weitere Césars bekam er für Roman Polanskis "Der Ghostwriter" (FR/US/DE 2010) und Jacques Audiards "De rouille et d'os" ("Der Geschmack von Rost und Knochen", FR 2012).

Seit Mitte der 2000er Jahre arbeitet Desplat häufig auch für internationale Koproduktionen, nicht zuletzt in den USA und Großbritannien. Er war mehrfach für den Oscar nominiert, unter anderem für "The Queen" (UK/US/FR 2006), "The Curious Case of Benjamin Button" (US 2009), "The King's Speech" (UK/US 2010) und "Argo" (US 2012). Für seine Musik zu Wes Andersons "Grand Budapest Hotel" (US/DE 2014) erhielt er schließlich den begehrten Academy Award sowie das britische Oscar-Pendant, den BAFTA. Für Anderson hatte er bereits die Musiken zu "The Fantastic Mr. Fox" ("Der fantastische Mr. Fox", US 2009) und "Moonrise Kingdom" (US 2012) komponiert.

Bis heute zeichnet Alexandre Desplat bei weit über 100 Kinofilmen für die Originalmusik verantwortlich. Zu seinen wichtigsten Arbeiten gehören so unterschiedliche Werke wie Terrence Malicks Filmpoem "Tree of Life" (US 2011), das Terrorismus-Drama "Zero Dark Thirty" (US 2012) und die Polanski-Filme "Der Gott des Gemetzels" (FR/DE/PL 2011) und "Venus im Pelz" (FR/PL 2013). Für Wim Wenders komponierte er die Musik zu dessen melancholisch-poetischem Drama "Every Thing Will Be Fine" (2015). Für diese Musik wurde Alexandre Desplat 2016 mit dem Deutschen Filmpreis ausgezeichnet.

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