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Saving Mr.Banks Import

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Détails sur le produit

  • CD (10 décembre 2013)
  • Nombre de disques: 2
  • Format : Import
  • Label: Mis
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 75.601 en Musique (Voir les 100 premiers en Musique)
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1 internautes sur 1 ont trouvé ce commentaire utile  Par Willoz le 27 avril 2014
Format: Téléchargement MP3 Achat vérifié
Entre compositions originales, reprises des chansons phares de Mary Poppins et petits airs bien connus glissés çà et là, c'est bande son est un régal pour les amateurs de la magie selon Disney et des oeuvres de l'excellent Thomas Newman (compositeur des B.O. de plusieurs Disney/Pixar).
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Format: CD Achat vérifié
Une musique majestueuse écrite par le grand Thomas Newman !!
Le service est rapide mais cependant , j'ai reçu le produit avec un boitier incroyablement cassé et c'est pour cela que j'ai retiré une étoile ... Peut-être devriez-vous revoir l'emballage du produit ... Sinon , tout est très bien !!
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16 internautes sur 17 ont trouvé ce commentaire utile 
Saving Mr. Banks - Original Soundtrack 10 décembre 2013
Par JMM - Publié sur Amazon.com
Format: CD Achat vérifié
"Saving Mr. Banks" is a wonderful soundtrack worthy of a listen and a purchase. The film explores Walt Disney and the making of "Mary Poppins". As such, there are a number of songs performed by the cast - this includes "Let's Go Fly a Kite", a fun song that's my personal favorite on the album. As a bonus, you also get many of the famous tunes as performed by Julie Andrews from "Mary Poppins", such as "A Spoonful of Sugar" and "Chim Chim Cher-ee". Also included are pre-demos of the songs, performed by songwriter Richard M. Sherman.

But the real treat here is Thomas Newman's original score for the film. Mr. Newman is a legend among film fans, having worked on the music for films like "The Shawshank Redemption", "Road to Perdition", "Finding Nemo", "Skyfall", and even the main theme for HBO's "The Newsroom". I wouldn't say "Saving Mr. Banks" is the very best work Newman has ever done, but it's pretty darn close. This score will no doubt earn him his 12th Oscar nomination - I hope he finally wins, he deserves it!

[5] Uncle Albert
[17] Whiskey
[26] Let's Go Fly a Kite
[30] Ginty My Love
[31] Saving Mr Banks (End Title)
11 internautes sur 12 ont trouvé ce commentaire utile 
Supercalifragilisticexpialidocious 14 décembre 2013
Par Un client - Publié sur Amazon.com
Format: CD
The much-loved Disney feature Mary Poppins celebrates its 50th anniversary in 2014. It’s hard to believe that it’s been that long since the world first learned the word supercalifragilisticexpialidocious, or were first able to hear the worst Cockney accent in cinematic history courtesy of Dick Van Dyke, but it’s true, and the legacy and popularity of the film remains as strong today as it was in 1964. The new film Saving Mr. Banks, directed by John Lee Hancock, tells two parallel stories. Firstly, it charts how the film Mary Poppins was made, with the irascible English spinster P.L. Travers (Emma Thompson) traveling from her home in London to Los Angeles, where she is wooed mercilessly by no lesser figure that Walt Disney himself (Tom Hanks), in an attempt to secure the rights to her book, which she is loathe to give up. Secondly, and possibly most importantly, it explores in flashback Travers’ childhood in rural Australia, and how her relationship with her loving, caring, but hopelessly drunk and irresponsible father (Colin Farrell) help inspired her work, and her famous umbrella-wielding nanny.

The music of Mary Poppins is, of course, as important and well-loved at the film, and so obviously composer Thomas Newman had a very important part to play in the film about its creation. With the legendary songs of Richard M. Sherman and the late Robert B. Sherman looming large in the background, and featuring prominently in several scenes in the film, Newman took an important decision and intentionally avoided quoting any of their melodies in his score itself, instead concentrating on the emotional aspect of Travers’ life story, and leaving the legendary music of the Shermans to speak for itself. Ultimately, this proved to be entirely the right decision: although the two sets of music exist entirely different musical worlds, they complement each other perfectly.

The score opens with a beautiful performance of Sherman’s “Chim Chim Cher-ee” melody performed on solo piano by Randy Kerber, overdubbed with a poetic monologue by Colin Farrell in-character, which sets the tone for the film perfectly. Large parts of Newman’s score hearken back to the classic lush sound that many people fell in love with in the 1990s, which is a very welcome development indeed. The score’s recurring main theme is warm and inviting, and features those swooning, melting string washes and piano melodies that many will recall from scores like Meet Joe Black, Oscar and Lucinda, or the more beautiful parts of Angels in America and Cinderella Man. It features prominently throughout the score, first appearing towards the end of “Travers Goff”, and forms a large part of the fabric of several later cues, receiving especially notable performances in the elegant “Uncle Albert”, the sentimental “Celtic Soul”, the lovely “Westerly Weather”, and in the conclusive end credits piece “Saving Mr. Banks”, which ends the score on an endearing, lyrical note.

The idealism and romance of Travers’ childhood in Australia, and her love/hate relationship with her devoted but alcoholic father, is generally scored in this way too, like a sun-kissed fantasy from someone else’s life. Of course, Newman would not be Newman if he didn’t augment his sweeping strings with his usual palette of struck and plucked string instruments – guitars, marimbas and the like – alongside chimes, glockenspiels, and a haunting, faraway woodwind texture which has a wistful, slightly dreamy aspect that reminds me of his Americana work on scores like The Horse Whisperer. Cues such as the summery “Travers Goff”, the bouncy and idiosyncratic “Walking Bus”, the gorgeously tender “Forgiveness”, and the nostalgic “Ginty My Love” blend these styles together excellently.

Cues like “Laying Eggs” and “Whiskey” hint at some darker emotions out in the bush, combining the liveliness of the rhythms with something a little more melancholy in the phrasing and instrumental choices. This comes to a head in “To My Mother”, a standout cue which begins with a soothing, intimate, slightly deconstructed solo piano performance of the main theme, but slowly grows into something more dramatic and profound; as the cue progresses it makes excellent use of rapid-fire violin scales, harp glissandi, stark instrumental touches, and a moody, oppressive synth element, to underscore the film’s most traumatic sequence.

At the other end of the scale, the slightly comedic misadventures of PL Travers as she experiences American life and hospitality for the first time revisit that off-kilter, energetic American Beauty sound, all spiky instrumental performances and a sense of freedom and movement. “Jollification” perfectly captures Travers’ incredulity and cynicism of everything Disney is tying to flatter her with, Walt Disney himself has a cheerful brass march heard in “Mr. Disney” and in an extended, much more flamboyant version in “The Magic Kingdom”, while there are jazz pianos and muted trombones in “Mrs. P. L. Travers”, and quirky pizzicato strings in “Impertinent Man” that capture the slowly cracking veneer of English forthrightness, correctness and pomposity that Emma Thompson conveys so perfectly.

A couple of source music cues fill out the score CD, including a super rendition of the jazzy “One Mint Julep” by Ray Charles for the scene where Mrs. Travers first arrives in America, and there are also a couple of brief dialog/music tracks from the film featuring actors Jason Schwartzman and BJ Novak as Richard M. Sherman and Robert B. Sherman, demoing their songs for an increasingly flabbergasted Travers in Walt Disney’s offices.

The special edition 2-CD set of the Saving Mr. Banks soundtrack contains several treasures on its second disc, especially for those who love the music heard in the original Mary Poppins film. The most notable bonus tracks are the original 1964 demos of four classic songs from the film, performed on piano and sung by Richard Sherman himself, with occasional vocal accompaniment by his brother Robert. Knowing what the finished versions eventually came to sound like, it’s fascinating hearing these rough, in-progress versions as a historical record of the creation of some of cinema’s most enduring songs. These are followed, for those who may have forgotten, by the final film versions of those very songs, featuring full and lush orchestrations by the great Irwin Kostal, and legendary vocal performances by Julie Andrews, Dick Van Dyke and David Tomlinson. There is something inherently magical in hearing Andrews’ cut-glass tones during “Feed the Birds”, which was Walt Disney’s own favorite song.

In many ways, this is a classic Thomas Newman score, or at least as “classic” as we’re going to get in 2013. Newman has evolved as a composer, both stylistically and compositionally, since he first impressed us all with scores such as The Shawshank Redemption, Little Woman, and many others back in the 1990s, mostly due to the success and enormous popularity of American Beauty, and this is just something that we have to accept as reality these days. Saving Mr. Banks, more than any other score of his in quite some time, dips back into that treasure trove of beauty, harmony and romance, and emerges with a score that blends the best of both worlds. I’m not sure what old Walt would have thought about Newman’s unconventional orchestrations if he had heard them back in the 1960s, but I know from first hand experience that Richard Sherman approves of them in 2013, and if that’s not a ringing endorsement I don’t know what is.
23 internautes sur 29 ont trouvé ce commentaire utile 
Review of DELUXE version – A must for “show tune” collectors – Best enjoyed when you have seen the movies. 25 décembre 2013
Par Steve Ramm - Publié sur Amazon.com
Format: CD
There are some “soundtrack” recordings – the ones that have the “score”, not the ones composed of pop songs “featured” in a film – that work best if you have seen the related film. That’s why I am often hesitant to review STs for films I have not seen, and why my reviews may bee different from those who have seen the film. In the case of “Saving Mr. Banks”, the full enjoyment requires that you, not only see the new (as I write this) Tom Hanks-Emma Thompson film, but that you revisit (or experience for the first time) the original “Mary Poppins” film from 1964 (particularly the brilliant newly restored version – see my five-star review on Amazon). Trust me; it’s worth it to go these extra steps. With those steps behind you, this SMB Cd will make a lot more sense.

Disney has released two version of the SMB soundtrack: A single- disc version and the 2-disc “Deluxe Version” that I’m reviewing here. (Note that Amazon has policy of grouping various configurations of CDs together so, when reading a review here, look to see which product the reviewer is discussing.)

The Deluxe package consists of 2 CD. The first runs 46 minutes and has 31 tracks, including the “score” by composer Thomas Newman, three “excepts” of Mary Poppins songs (by the Sherman Brothers) as sung in the film at key moments (though the “Supercalifragilistic…….” excerpt lasts just five seconds!), and two recordings (Ray Charles’ instrumental “One Mint Julep”; the Dave Brubeck Quartet’s “Heigh Ho”) which are interpolated into the film’s soundtrack. The second CD (23 minutes) includes the original pre-demo recordings of four songs from “Mary Poppins” recorded by the Shermans and their MP soundtrack recordings, plus “A Spoonful of Sugar” (from MP). The four Sherman brothers tracks (lasting just 9 minutes) are the real gems here, and part of the reason I recommend the Deluxe edition.

Back to Disc One. SMB (which I made sure to see before I listened tio this album) jumps back and forth in time from 1962 in the US to the 1930s in Australia, and the music styles change as well. The 60s are represented by jazzy themes. “Mrs. P.L. Travers” is piano jazz (which, of course the Brubeck track is, also) and “Jollification” features plucking strings and reminded me of the music in TV’s “Desperate Housewives”. Sometime the sequencing of Newman’s core with the commercial recordings can be jarring, as when “Worn To Tissue” is followed by “Heigh-ho”. And the titles to the original score tracks will make a bit more sense after you have seen the film.
The third component to the package is the 16-page booklet inserted in the package. While seven pages are devoted to color photos from the film (and the back cover is blank), there is a terrific three-page essay by Restoration and Compilation Producer Randy Thornton, that provides lots of background on the making of MP as well as the pre-demo recordings on the second disc. It adds immeasurably to the full package.

So, here is my suggested plan:
1) Watch the new restored version of “Mary Poppins” on Blu-ray (again, see my review)
2) Go see “Saving Mr. Banks” in a theater
3) Buy the DELUXE version of the SMB Soundtrack
4) And, if you have time, repeat step 1.

I hope you found this review both informative and helpful.

Steve Ramm
“Anything Phonographic”
2 internautes sur 2 ont trouvé ce commentaire utile 
GREAT music! 2 avril 2014
Par Carolyn Casey - Publié sur Amazon.com
Format: CD Achat vérifié
This is my happy music, lifting my spirit each time I hear it. It is my go-to album when I need a fresh perspective. Bravo Disney and Thomas Newman!
2 internautes sur 2 ont trouvé ce commentaire utile 
Saving Mr. Banks an emotional story with happy ending. 31 mars 2014
Par Minnesota Okie - Publié sur Amazon.com
Format: CD Achat vérifié
When she cries at the end, I cried. A very good movie, revealing secrets of the lives of both Travers and Disney.
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