{"id":6797,"date":"2018-04-23T15:10:36","date_gmt":"2018-04-23T15:10:36","guid":{"rendered":"http:\/\/asinovolablog.it\/?p=6797"},"modified":"2018-04-24T09:46:36","modified_gmt":"2018-04-24T09:46:36","slug":"journey-centre-soundtrack-park-chan-wook","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/journey-centre-soundtrack-park-chan-wook\/","title":{"rendered":"Journey to the Centre of the Soundtracks | Park Chan-wook &#038; Yeong-wook Jo"},"content":{"rendered":"[vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: right;\"><em>curated by Yorgos Kostianis<\/em><\/p>\n<p><strong><span class=\"nectar-dropcap\" style=\" color: #f1564f;\">&#8220;W<\/span>hat came first: the music or the misery?\u201d<\/strong> is one of the great rhetorical questions, raised by Rob Fleming as the opening line of one my favourite Nick Hornby\u2019s books,<em> High Fidelity<\/em>.<br \/>\nNow, let me paraphrase this knotty question for the purpose of this article: <em>What came first: the music or the motion picture?<\/em><\/p>\n<p>During the silent era of film (1894-1929), there was no recorded, synchronised sound in films and dialogue appeared in short title cards between shots. In order to fill up the absence of sound, live orchestras or in-house pianists performed music alongside a film.<br \/>\nLive music was provided for two reasons: firstly, to mask the awful racket produced by projectors and secondly, to give the audience a sense of reality. The viewing experience was no longer simply two-dimensional and the viewer was immersed in the action created by the fusion of image and sound.<br \/>\nWith the advent of the \u201ctalkies\u201d in the 1930s (films with spoken dialogue) music accompaniments in the form of in-house pianists and orchestras began to slowly die down. However, this gave way to the production of original score music. Film composers could now create specific music to be utilised throughout the screenings. Thus, the first completely original score was composed by Max Steiner for the classic \u201cKing Kong\u201d in 1933.<br \/>\nThe abbreviation <strong>OST<\/strong> (<strong>O<\/strong>riginal <strong>S<\/strong>ound<strong>T<\/strong>rack) came into public consciousness later on with the emergence of the so-called \u201csoundtrack albums\u201d in the 1940s, first conceived by movie companies as a promotional gimmick.<\/p>\n<p>Nowadays, soundtracks have become an integral part of cinematography which can make or break a film and, in certain cases, they can be elevated to separate and iconic art forms that outlive the movie itself.<br \/>\nBeing an avid lover of soundtracks myself, I was entrusted with the delightful task of dedicating this segment of our blog to this, oftentimes neglected, filmic aspect by reviewing the scores that have accompanied me throughout my cinematic upbringing.<br \/>\nHowever, picking the soundtrack that would kick off this segment, was certainly no easy task. The first OST I bought and immersed myself into was, most probably, Yann Tiersen\u2019s score for <em>Am\u00e9lie<\/em>. Yet, iconic and supreme as it maybe, I found it hard to pen down something that hasn\u2019t already been said about it. Thus, I decided to rather shed light on a relatively obscure gem: Park Chan-wook\u2019s vengeance trilogy.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;20&#8243; bottom_padding=&#8221;20&#8243; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][image_with_animation image_url=&#8221;6798&#8243; alignment=&#8221;center&#8221; animation=&#8221;Fade In&#8221; img_link_large=&#8221;yes&#8221; border_radius=&#8221;none&#8221; box_shadow=&#8221;none&#8221; max_width=&#8221;100%&#8221;][\/vc_column][\/vc_row][vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;20&#8243;][\/vc_column][\/vc_row][vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;padding-1-percent&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]<em>Sympathy for Mr. Vengeance<\/em> (2002), <em>Oldboy<\/em> (2003) and <em>Lady Vengeance<\/em> (2005). To this day, when I\u2019m faced with the daunting question \u201cwhat\u2019s your favourite flick?\u201d those films remain my go-to snap answers.<br \/>\nFirst watched at a rather young age, it would be difficult to describe the awe-inspiring impact they had on me; and while I\u2019m not entirely certain they would prove to be as impactful upon a present-day re-screening, there\u2019s no doubt in my mind that their soundtrack is going to haunt me till the end of my days.<br \/>\nI\u2019ll be focusing on the last two instalments of the series starting with <em>Oldboy<\/em>. The film follows the story of Oh Dae-Su, a deadbeat dad who gets abruptly kidnapped and imprisoned in a cell for 15 years. When he is finally released, he finds himself still trapped in a web of lies, conspiracy and violence spun by his enigmatic captor, and called to answer for the sins of his past.<\/p>\n<p>With this masterfully crafted, modern adaptation of Oedipus Rex, Park Chan-wook put Korean cinema on the map and won the Grand Prix at the 2004 Cannes Film Festival. One of the components that majorly contributed to the film\u2019s uniqueness is, beyond question, its simply divine music. An excellence which did not escape the keen eyes of director Nicolas Winding Refn (<em>Drive<\/em>, <em>The Neon Demon<\/em>) who recently produced its vinyl reissue and oversaw the record\u2019s <strong><a href=\"https:\/\/soundcloud.com\/milanrecords\/cho-young-wuk-the-big-sleep\">new artwork and packaging<\/a><\/strong>.[\/vc_column_text][vc_column_text]In order to set the idiosyncratic mood of his film, Chan-wook Park joined forces with composer Yeong-wook Jo and together they created a sublime musical spectrum going from classical compositions masterfully performed by a full orchestra to electrified downtempo beats.<br \/>\nRight off the bat, the film\u2019s soundtrack permeates the title sequence with the adrenaline pumped \u201c<em><strong>Look who\u2019s talking<\/strong><\/em>\u201d which blends in perfectly with the in media res opening scene. The keen cinephiles will also notice that nearly all of the soundtrack cues in the movie are named after some of Park and Jo\u2019s favourite films, chiefly classic noirs like Polanski\u2019s \u201c<em><strong>Cul-de-sac<\/strong><\/em>\u201d, Nicholas Ray\u2019s \u201c<strong>In a Lonely Place<\/strong>\u201d, Jacques Tourner\u2019s \u201c<em><strong>Out of the Past<\/strong><\/em>\u201d, Robert Aldrich\u2019s \u201c<em><strong>Kiss Me Deadly<\/strong><\/em>\u201d and so on. This crafty choice of titles is not only a respectful nod to the director\u2019s influences but is also deeply evocative of the themes of his film with the songs titles fitting like jigsaw pieces falling into place.<\/p>\n<p>The crown jewels of the soundtrack are unmistakably kept for last, both of them integral to the film\u2019s plot and commencing with brief yet soul-stirring quotes. Firstly, the majestic \u201c<em><strong>Farewell, My Lovely<\/strong><\/em>\u201d which opens with the last chilling words of the antagonist\u2019s sister before her untimely demise: \u201c<em>Please remember me<\/em>\u201d and its closing crescendo is abruptly broken by a deafening gunshot followed by an eerie humming of the piece by Woo-jin himself.[\/vc_column_text][vc_video link=&#8221;https:\/\/youtu.be\/EUJhIjD3rp8&#8243;][vc_column_text]Last, but certainly not least, at track number 24: \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=UIo5fZxSAgo&amp;t=130s\"><strong><em>The Last Waltz<\/em><\/strong><\/a>\u201d, a bittersweet waltz composed in order to capture the film\u2019s catharsis, or lack thereof, during the closing scene, preluded by Mi-do\u2019s soft-spoken \u201c<em>I love you, Oh Dae-su<\/em>\u201d which also serves as the very last line of the film, hopeful and haunting at the same time.[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;20&#8243;][vc_video link=&#8221;https:\/\/youtu.be\/hnuhzyO5Drc&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;20&#8243;][\/vc_column][\/vc_row][vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; overlay_strength=&#8221;0.3&#8243; shape_divider_position=&#8221;bottom&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] curated by Yorgos Kostianis hat came first: the music or the&#8230;<\/p>\n","protected":false},"author":2,"featured_media":6799,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[138],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Journey to the Centre of the Soundtracks | Park Chan-wook &amp; Yeong-wook Jo<\/title>\n<meta name=\"description\" content=\"First stop of our journey through the world&#039;s best soundtracks, all curated by Yorgos Kostianis. 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