Tuesday Thomas: 8 September ‘26
Another Tuesday Thomas with five tracks to enjoy. I didn’t pick these all myself, my friend Adam was keen to make some suggestions and, personally, I think he’s chosen some brilliant pieces of music to enjoy.
Here are five Thomas Newman tracks to enjoy:
The Inside Out
from Cinderella Man (2005, Director: Ron Howard)
A short piece to begin with but a really interesting one from Howard’s period boxing film. For a sport’s film, the track actually begins with the sound of the crowd which is really atmospheric. The track then slips into a classic Newman piano ballad which is quietly rousing in it’s simplicity. The track builds across the next minute with soft strings and a slight Celtic lilt in it’s percussion, but that lovely piano theme remaining the heart of the track before ending on a dramatic string and percussion flourish.
It works well at the start of the film and the album to set the scene and announce that this will be a sport film with heart and depth and that the fight has now begun.
Gunmetal Clatter from Thank You For Your Service (2017, Director: Jason Hall)
A really underrated film and a really underrated score and one that I would encourage you to check out in it’s entirety. This track is my favourite from it. There’s a beautiful and rousing patriotism to this track wrapped in lush and warm strings with a jaunty and playful piano motif that seems to burrow into your head and find a certain mix between hope and sadness. There is even some sort of harmonica sounding instrument in there that adds to home comfort.
For a film about terrible things, this is a lovely little track. Never losing control of the music, Newman keeps it subtle and rousing while refusing to let it over power the emotional of the scene in the film. It’s powerful and reflective in equal measure.
White as Bone from Tolkien (2019, Director: Dome Karukoski)
Newman’s score for Tolkien was somewhat overshadowed by his score for 1917 in the same year. The score is a masterwork of strange and interesting instruments being used to create a world and soundscape that you believe could inspire the most imaginative of imaginations. This track is fairly low key on the surface but is wonderfully rich below the surface. The use of processed vocal creates a mystical feeling that captures the mystery of the world Tolkien is creating as he wrestles with feelings and regrets and loss. There is a playfulness to be found, there is heartbreak to be found, there is hope to be found and there is aching beauty to be found.
A wonderful score to get lost in.
Elise from The Adjustment Bureau (2011, Director: George Nolfi)
This is such an interesting piece! it begins with some soft strings with just a hint of otherworldly-ness before an Indian sounding drum bit kicks in followed by an explosion of percussion, with a sitar riff underneath more traditional Newman strings. And that is just the first minute! The track then settles into a string based character theme for Elise. There is a hopeful romantic nature ot the track but also an underlying tension and mystery which fits beautifully with the character in the film. The more epic string sweeps portray a sense of sadness and longing that defines the central relationship in the film. The conclusion of the track takes a sinister sounding detour with almost drone like soundscape drowning out the lush strings. If anyone has seen the film and knows the central premise, this is truly genius scoring.
Brooks Was Here from The Shawshank Redemption (1994, Director: Frank Darabont)
You’ll have heard this piece. You must have! Perhaps Newman’s most famous score, The Shawshank Redemption remains one of the most wonderful pieces of modern cinema. This track follows the character of Brooks as he leaves prison and attempts to readjust to normal life.
It’s mostly piano and string based but it is a truly heartbreaking piece of music. I’m not sure how Newman does it, but he captures the sense of loneliness, tragedy and aching sorrow throw those slow paced piano notes and somber strings. Like everything to do with Shawshank, there are elements and hints of hope, a light to be found amongst the darkness. The pace of the piano really lets those strings echo in their melancholy and I just adore how the piano speeds up in moments where things seem to be slipping away from Brooks.
As I’ve mentioned before, film music can do wonderful things, it can take on a life beyond the screen and I believe that this track does that. It’s a piece of extraordinary power and in it’s relative simplicity, that piano speaks to what is means to hope and to live and to find inner strength.
A stunning piece of music.