Tuesday Thomas: 21 July

As well as specific film score reviews, I wanted to also include some spotlights on the work of my favourite film composers. As a fan of some alliteration, Tuesday seemed like a good day to reflect on the work of my favourite composer Thomas Newman.

Youtube links below for each track and a more detailed reflection for each track below them.

Here are five Thomas Newman tracks that are worth a listen:

1. https://www.youtube.com/watch?v=ucdz7A3s4Wc&list=RDucdz7A3s4Wc&start_radio=1

2. https://www.youtube.com/watch?v=DFFUUG3gB4k&list=RDDFFUUG3gB4k&start_radio=1

3. https://www.youtube.com/watch?v=kZbf9T_PCgs&list=RDkZbf9T_PCgs&start_radio=1

4. https://www.youtube.com/watch?v=GOt8omn58OQ&list=RDGOt8omn58OQ&start_radio=1

5. https://www.youtube.com/watch?v=KGZ_LRUyY1A&list=RDKGZ_LRUyY1A&start_radio=1

American Beauty

From American Beauty

(1999, Director: Sam Mendes)

So, this is perhaps Newman’s most iconic score, it’s been riffed, edited, copied and repurposed so many times but it remains pure perfection - do not get me started on the loss of the Academy Award that year!

This piece covers the famous plastic bag scene, and although the film has been somewhat tainted by the Kevin Spacey association, it’s a lovely scene which explores the idea of finding beauty in every day life and finding joy in even the most simple of things. Newman is heavy on the piano here with that stunning motif that runs through the whole score with the most subtle of strings to support the elegance of the piano. Those strings are somber and melancholy and add real pathos to the track. It’s a piece of music that has brought me real comfort at difficult times in life and remains one to get utterly lost and enveloped in. Masterful scoring.

Hypertrophic

From A Man Called Otto

(2022, Director: Marc Forster)

This really showcases Newman’s character work as this extended piece is basically the theme for the main character of Otto throughout the film. It opens the film moments after we meet Otto for the first time and scores him going about his daily routine. There are some brilliant uses of instrumentation in this piece to really explore the complexities of character. There is a wonderful guitar riff that captures the pure Americana of the character, that every day, classic American working class man. With a career in constructions, there is some great percussion where Newman makes it sound like there is construction going on within the track, a little musical hammer thumping away. Midway through the track, there are some breathy vocal sounds added to the mix which represent Otto’s willingness to open himself to others which forms the crux of the film’s story.

Overall, the track plays like a musical representation of the character, listen closely for that skillful percussive sound of the building. The last minute or so when all the elements of the music come together beautifully capture Otto as a character, with that slightly melancholic but with a consistency of character ending.

Spacewalk

From Passengers

(

2016, Director: Morten Tyldum)

I really cannot help but like Passengers, despite it’s many flaws, but it remains one of Newman’s most beautiful scores. There are elements of space ethereal and action but this track is perhaps one of his most romantic. It scores the scene where the two characters take their joint leap of faith to leave the space ship and experience the wonder and beauty of space, together.

The piano returns but this time the motif is sweet, romantic and huopeful, and with the most lush of strings, it becomes playful and exciting - capturing the wonder and excitement of falling in love with someone. For me, at 2.26, the rush and richness of those strings capture what letting go and falling in love feel like. That moment of joy and ecstasy where you connect with a singular other person, then a sweet piano heavy conclusion to the track that follows that rush with a feeling of contentment. Feeling romantic? This is a gorgeous piece of music to really help you to lean into those feelings.

Engländer

From 1917

(2019, Director: Sam Mendes)

I think 1917 is one of Newman’s finest scores and it appears it was the final score from that Newman/Mendes partnership that brought some of their finest work over the years. This track is perhaps not one of the big emotive pieces or the most on the nose action pieces, but it is, in my view, one of the richest. It scores Schofield’s escape from an occupied village under the cover of darkness.

The first part of the piece is all tension building with a repeated drumbeat to emphasize the slow and tense movements through the village. At 2.07 there is a turning point where that tension becomes more direct in the music before the drumbeat becomes more prominant and direct. It is surrounded by whirling percussive noises and a subtle vocal to emphasize his fish out of water approach. Then at 3.17, the piece goes all out action as he makes his escape and it becomes a chase sequence. The music is robust and tense with a strong underscore and some brilliant string work mixed with electronica. Then there is as stunning brass introduction to build toward a climax.

Every time I listen to this piece, I find something new within the complex mix. One to enjoy at a tenser point of the day!

The Famous Cooper’s Chase

From The Thursday Murder Club

(2025, Director: Chris Columbus)

Following a tense piece, this is a brighter ending to the five tracks with the main end credits theme from The Thursday Murder Club. With a jaunty and fun score throughout, this piece captures the fun nature of the characters with sweeping strings, very British brass and a real mix of music instruments that bring real character to the music.

The use of brass at 0.45 is a perhaps one of the most British things Newman has done in a score. It’s fun and triumphant and joyful ending to the film. it’s perhaps a score that you haven’t listened to, but there is lots to enjoy within it. The track ends with an air of mystery but never loses the fun aspect of it. Newman knew the brief, and delivered.