There is an interesting piece on the use of music in
_Seven_ in the BFI study of said film. Aside from the
obvious contrast of the Nine inch Nails track and J.S.
Bach, there is also some salient points made regarding
the Howard Shore orchestral scoring, which accumulates
and adds to the tension of the final scene. The
description in the book is far superior.
The idea that a film score should be seen and not
heard seems to me a realist fallacy (can you have such
a thing?). The film music of Morricone is always
involved in the film. It has an operatic literalism
and humour. It has a wealth and richness which flies
in the face of puritanical abstinence.
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