Largo Winch Soundtrack Review
Engaging, Stylish Action Score from Desplat
Feb 19, 2009 David Abraham Dueck
Alexandre Desplat has had far more successes in his career than failures: and even when considering that statement, one must admit that although a few of his scores may not make for ideal or particularly memorable albums, they are always eminently suitable to the films for which they are composed, and the term “failure” is thus rendered rather ambiguous. His scores for The Painted Veil, The Queen, Birth, Girl with the Pearl Earring, and countless others (many for foreign films) have received much acclaim and praise in recent years, and it has never been undeserved.
However strong his music, though, his tendency to gravitate towards low-key personal dramas has masked his inherent abilities as a capable and skilled composer in other, flashier genres: and his recent score to the stylish French action thriller Largo Winch, directed by Jerome Salle, is ample proof that Desplat is one of today’s premier film composers.
Largo Winch Main Theme
The score opens with a determined series of sampled percussive hits, which immediately swell into a grand, sweeping statement of the four-note main theme on broad brass, soaring strings and prancing flutes. The theme is epic and all-encompassing, but also suitably mysterious: even sinister. The wide strokes with which it paints are instantly memorable and undeniably attractive.
The sense of style and flair the score evokes is highly reminiscent of John Barry and David Arnold’s James Bond scores, although Largo Winch is so thoroughly covered with Desplat’s trademark sounds that one could never mistake this anything but a Desplat score.
Largo’s theme recurs with appropriate regularity and satisfying variety: a fast-paced, assured version is heard at the conclusion to “Largo Jumps,” a twisted, eerie version in “Meyer’s Ear,” and a resolute final statement in “Epilogue.” Among other cues, these few display Desplat’s adept handling of his theme through a wide spectrum of emotion and circumstances.
Attractive Percussion and Orchestration in Desplat's Score
Desplat’s good taste with percussive elements of all types is displayed in an extremely effective way in this score: cimbalom, chimes and bells, along with high and low-end piano, are used for percussive, energetic purposes as well has heavy drums and electronic samples: the music, whether romantic, wistful, driving or thrilling, has a consequent depth and sonic spectrum which makes it much more interesting and stylish than traditional no-holds-barred action scores.
“Chase Latino” features a short, exotic, tango-styled chase sequence which presents an affable and extremely winning mixture of electronics, piano, and full orchestra, while “Mato Grasso Escape,” “Largo Jumps,” and the final trio of action cues “Hong Kong Chase,” “On the Run,” and “Roof Fight” explode with intense, furious rhythms and blasting hits of the full orchestra.
Atmospheres and Moods in Largo Winch
The moods of the score vary widely, but not startlingly: the soft “Lea’s Theme” and the quietly awesome “Chosen One,” as well as “Croatian Sorrow” and the latter part of “Anna’s Death” are welcome compliments to the unbridled thrills and epic statements of theme heard elsewhere in the score.
Besides an enticing collection of fine action cues, brilliant orchestration, terrific themes and an eminent sense of flair and style, Largo Winch also possesses an attribute which is often smothered in Desplat’s more understated scores: it is memorable, and it makes a very strong impression. After such low-key fare as the beautiful but anonymous The Curious Case of Benjamin Button and the dry, underdeveloped The Golden Compass, a score like Largo Winch comes as a refreshing, entirely enjoyable supplement. Highly recommended, to fans of Desplat as well as intelligent, thrilling action music.
See also: Benjamin Button Soundtrack Review, Cheri Soundtrack Review, Coco Avant Chanel Soundtrack Review
Largo Winch Album Cover
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Alexandre Desplat, Composer
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