Errol Morris? adroitly assembled documentary film "The Fog of War" examines the career of Robert S. McNamara-- United States Secretary of Defense during the Kennedy and Johnson Administrations and whose tenure includes the... more » Vietnam War and the Cuban Missile Crises. Combining excerpts from 26 hours of interviews with McNamara, archival footage, filmed recreations, as well as newly declassified White House recordings Morris? filmmaking illuminates a national past that ominously parallels the contemporary political present. Morris reveals what previous biographies failed to investigate?the relationship between McNamara and the infamous United States General Curtis LeMay and their involvement in the firebombing of Tokyo?along with 67 other Japanese cities?in 1945. Errol Morris states "The easy thing to say would be McNamara is a bad guy, he did all these bad things...the story is more complex and far more interesting than I imagined. The disturbing thing is that this was a man with real ethical dimension who did something terrible."As with music previously contributed to Morris? films, Philip Glass? score to "The Fog of War" effortlessly supports and enhances the film. The music, at times lyrical and at other times intense, deepens the horrifying images of war, highlighting the ambiguities of McNamara?s character?and the consequences of his actions. Glass? music reinforces Morris? effort to understand the difficult ethical questions about governing and power raised by "The Fog of War".« less
Errol Morris? adroitly assembled documentary film "The Fog of War" examines the career of Robert S. McNamara-- United States Secretary of Defense during the Kennedy and Johnson Administrations and whose tenure includes the Vietnam War and the Cuban Missile Crises. Combining excerpts from 26 hours of interviews with McNamara, archival footage, filmed recreations, as well as newly declassified White House recordings Morris? filmmaking illuminates a national past that ominously parallels the contemporary political present. Morris reveals what previous biographies failed to investigate?the relationship between McNamara and the infamous United States General Curtis LeMay and their involvement in the firebombing of Tokyo?along with 67 other Japanese cities?in 1945. Errol Morris states "The easy thing to say would be McNamara is a bad guy, he did all these bad things...the story is more complex and far more interesting than I imagined. The disturbing thing is that this was a man with real ethical dimension who did something terrible."As with music previously contributed to Morris? films, Philip Glass? score to "The Fog of War" effortlessly supports and enhances the film. The music, at times lyrical and at other times intense, deepens the horrifying images of war, highlighting the ambiguities of McNamara?s character?and the consequences of his actions. Glass? music reinforces Morris? effort to understand the difficult ethical questions about governing and power raised by "The Fog of War".
CD Reviews
Variations on a Theme by Glass
Alex Grimley | bennington | 12/11/2003
(3 out of 5 stars)
"Being someone who was ecstatic with the new direction Philip Glass took with "Naqoyqatsi", I was eagerly anticipating the release of "The Fog of War". I was not disappointed with it, but I wasn't exactly satisfied either.Of course, the main difference between this album and Glass's other works is the lack of form. The music doesn't flow as well; doesn't create a mood like some of Glass's other soundtracks. Each track runs about two minutes long; some as short as 43 seconds. With "The Hours" this wasn't a problem, but here most of the tracks sound noticeably different from the one before it. "The Fog of War" breaks no new ground for Glass, it sounds similar to much of his older work. (Track 28, Unilateralism, is the first movement of the orchestral version of "Company.")I think it's safe to say that this album most closely resembles "The Thin Blue Line", Glass's soundtrack for Errol Morris's excellent 1988 documentary. Again, the orchestral focus is on strings and brass, with bits of percussion thrown in here and there. For what it's worth, this album is typical Glass (and there certainly isn't anything wrong with that), moody music that creates a scene, a picture in the listener's mind, but isn't profound or moving like "Koyaanisqatsi" or even the "Etudes", for instance. "The Fog of War" is one for your collection, but not a necessity for people just starting a Philip Glass library."
The film was great, but the score made it outstanding.
Joel Munyon | Joliet, Illinois - the poohole of America. | 08/05/2004
(5 out of 5 stars)
"Ever thought about what it would be like to watch a film with no muscial score? I have and I did for this documentary. Believe me when I write this, there's no way this film would have been as good without Glass' melodic brutality looming in the background.
Glass does something wonderful with this score; he gives war, uncertainty, doubt and fear a musical element, an audible personality that captures each bomb, burnt building and ominous threat in complete perfection, leaving your ears and your mind in a state of disbelief and amazement, thinking to yourself, "Wow, that music fits this segment like a glove."
The Thin Blue Line score made me an instant Glass fan but this score made me borderline Glass fanatic.
In my opinion, he surpasses Carter Burwell in the category of most unflinching film composer.......by a long shot."
Glass' dramatic score is Fog's 'secret sauce'
Andy Orrock | Dallas, TX | 03/21/2004
(5 out of 5 stars)
"If you've seen Errol Morris' "The Fog of War," you know that a big part of what makes the movie click is Phillip Glass' outstanding soundtrack. Morris and Glass have worked together before and it shows. Morris' imagery (the falling dominos, the accelerating list of Japanese cities, JFK's slow-blinking visage before TV cameras) appears to be literally lifted off the screen into 3-D by the strength of Glass' score. I don't think you'll find another movie (certainly no other documentary) where the words, images and music mesh with such dramatic effect."
(G)lassy
David A. Baer | Indianapolis, IN USA | 07/27/2007
(5 out of 5 stars)
"Some people hear things others never do. Of these, a few write them down. Of these, a small number create a theme and variations upon it that cohere and enthrall.
Philip Glass belongs to this minute group of human beings. Fortunately for us, recorded music exists to make his work available to all and at any time. His soundtrack for the Errol Morros documentary on Robert McNamara is a lesson in how to create film music that unobtrusively ups the ante of the film it graces.
Glass' score both intensifies and accelerates the movie. It is nearly impossible for one not to experience a quickened pulse when Glass pulls together--of all things, a snare drum, a bit of low brass, and a flute.
Ah, that flute. It floats in and out of track after track, bereft of its customary vibrato, a penetrating, entrancing reminder that something serious is going on in the film. It is a masterful use of a small, metal pipe. At the command of Glass, the humble flute and its younger brother the piccolo punch considerably above their weight.
Who could write such a work? Probably only Philip Glass.
The movie's pretty good, too."
ANOTHER GREAT GLASS SCORE!
David A. Baer | 03/30/2004
(5 out of 5 stars)
"I'll keep this review short, just like the length of the pieces on the CD. This is yet another great score by Glass, and superbly recorded as well. Glass uses his classic strings and percussion to great effect and oftentimes great surprise as well.This score has more variety than Glass's score for another Morris film, "The Thin Blue Line". By the way, will "The Thin Blue Line" ever get released on DVD? The pieces are all short ones, which makes it an easier listen for Glass newbies I would imagine, but I would have preferred a few longer pieces- all the short pieces make it sound like "Glass fragments"- on some pieces once Glass gets going he has to come to a stop.Still, I wholeheartedly recommend this wonderful CD!"
Track Listings (34) - Disc #1