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![]() Pride & Prejudice Full Movie
Bride and Prejudice is a Bollywood-flavored adaptation of 's classic novel, directed by Bend It Like Beckham's. The film is a melting pot of Indian, British and American culture, and its soundtrack follows suit. The album is bookended by traditionally Indian-sounding tracks like 'Punjabi Wedding Song' and 'Marriage End,' but in between, the music encompasses pop and urban sounds, while maintaining Indian elements as well. Bollywood veterans like composer Anu Malik, lyricists Zoran and Farhan Akhtar and Aishwarya Rai, who stars in the film as the heroine, Lalita, help maintain that authenticity throughout the album.
Aside from the aforementioned tracks and 'Dola Dola,' the majority of is sung in English, and while it's initially a little jarring to hear Bollywood-styled songs like 'A Marriage Has Come to Town' in English, overall it works pretty well. However, since the music in the film does a lot of heavy lifting for the plot, some of the songs suffer for it. Install android driver windows 7. They can be long on words and short on melody, a problem that stands out more on the album since it lacks the bright colors and choreography of the film. Standout tracks include the cheeky 'No Life Without Wife' and 'Arrogance, Pride and Vanity,' a battle-of-the-sexes duet between Lalita and Mr.
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Darcy., who also appears in the movie, contributes two tracks, 'My Lips Are Waiting (a.k.a. Goa Groove)' and 'Touch My Body,' both of which blend her usual sensual, urban pop with Indian influences. Though it's a slight soundtrack outside of the film's context, captures enough of what makes the movie work to make it worthwhile to fans.
By December 17, 2005 In my review of, I mentioned that talking about exotic instruments, actually, that the mere act of trying to name them without resorting to liner notes is the equivalent of taking a stroll down a mine field. Unless you have a degree in musicology, reviewing a score which draws heavily from classical music can be equally catastrophic. It's all too easy for a reviewer to throw in words like 'Beethoven' and 'the Classical period' (oh, and let's add 'sonata' as well). Then comes the flurry of emails like snowflakes in a winter storm, 'Well, you mentioning Beethoven wasn't exactly accurate, it's closer to.' , and, 'This particular piano technique was actually developed by., years after the composer you alluded to had died', and, 'What do you know about classical music anyway? Go back to your 9-to-5 job of stacking canned peas on shelves!' I do not have a degree in music history or composition.
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My knowledge of Western music is limited to two basic courses in music composing and one in music history that I took as electives as an undergraduate student. It should come as no surprise, then, when I say that, after listening to 's score to (yes, another Pride and Prejudice movie), I hit the Internet to see if I could say the name 'Beethoven' or, perhaps, 'Chopin' without being hit in the face by that very demoralizing flurry of emails. I saw people comparing to Beethoven's early Romantic work. I read about others vilifying the first and dropping 'Purcell', 'Chopin', 'Schubert' as more viable alternatives. I even saw someone remark that impressionistic techniques were used to represent Liz Bennett's pioneering personality. Those touches of rubato, such as two minutes and a half into 'Your Hands Are Cold', I had noticed, as well as the distinct influence of Chopin's work on 'Dawn.'
But I'm afraid my musical knowledge isn't up to snuff to compete with these guys and I won't even try. I am left with very little to say seeing as most other websites have already published lengthy reviews of the score. I could copy elements of these reviews and upchuck them here, but I'll leave that to less talented individuals. What I'll say is this: Marianelli proves again (after, you'll remember), that he is a composing force to reckon with.
His romantic music here is entrancing and masterful: he benefits from virtuoso piano performances but, even apart from the performances themselves, the writing is impressive and beautifully layered. Those grand, Kleenex-sponsored moments are not scored solely with lovely harmonies for the string section; Marianelli adds rapid passages for the piano that are, quite simply, breathtaking. Most people agree that 'Your Hands Are Cold' is a highlight of the album and why not?
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Celli, basses, and trumpets call upon an energetic (even equine) rhythmic ostinato complemented by cyclic figures on violas, violins, and woodwinds, and that's before the strings join forces with the piano ascending and descending up and down its scales in Romantic mode. This track is superb, but the rest of the album is equally strong and remarkable, adroitly mixing theme-based chamber music and period source music, such as dances ('Meryton Townhall', 'Can't Slow Down', the latter featuring a catchy accelerando) and military band marches ('The Militia Marches In').
Whether or not you know your Chopin from your Beethoven will have very little impact on your appreciation of the score to. As long as you are not turned off by 'that classical music,' you should find Marianelli's music profoundly emotional and, quite simply, beautiful. Darcy' ends with a reprise of the theme introduced in 'Dawn', for solo piano, and I don't care if it's Purcell or Schubert who would have cried 'Thief!'
; it's quite enjoyable all the same.
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