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Film Soundtracks - Released December 14, 2018 | Masterworks

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Film Soundtracks - Released November 16, 2012 | Sony Classical

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Film Soundtracks - Released January 1, 2003 | Milan Records

Monsoon Wedding director Mira Nair has described her beautiful family drama as "a Bollywood film, made on my terms." It's a pretty apt description, though on the surface the subtly acted art house picture may seem to have very little in common with the elaborately choreographed musical productions for which the Indian film industry is famous. Whereas Bollywood products are generally characterized by broadly painted heroes and villains, Nair's characters are among the most three-dimensional and honestly realized in international cinema. They are not the sort of people who populate Bollywood entertainments, but they are the sort of people who pay to see them. They don't burst simultaneously into song, but they do dance to Indian pop music in their living rooms. They do belt out traditional celebratory songs at wedding parties. What Monsoon Wedding shares with Bollywood is its appreciation of India's deeply rooted cultural enthusiasm for song and dance. The soundtrack reflects the delightfully broad spectrum of the music that plays on middle-class stereos all over modern India. There is a thumping electronic Hindi disco tune, a soaring orchestral romantic ballad from the vinyl era, an infectiously melodious contemporary pop duet, and a festive traditional spiritual performed by the internationally revered Pakistani singer Nusrat Fateh Ali Kahn. But most impressive of all is the film's original music. Sukhvinder Singh's rousing theme song, "Aaj Mera Jee Kardaa," expertly weaves traditional folk elements with sleek pop rhythms and strings. In a perfect alternate reality, it would probably be an Oscar winner. So would Mychael Danna's score. A recent Hindu groom himself and one of the most innovative composers in North American cinema, Danna elevates Nair's naturalistic hand-held camera narrative to a transcendent spiritual plane. The mystical "Fuse Box" almost single-handedly accomplishes the task of transforming the clownish wedding planner P.K. Dubey from a hilarious marigold-eating Indian version of Martin Short's Father of the Bride character to a thoroughly credible and even charming romantic lead. Unfortunately, that exquisite melody is hyped up to the point of tedium in two pounding techno remixes at the conclusion of the soundtrack album. They are a regrettable misstep in an otherwise brilliant compilation. ~ Evan Cater
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Film Soundtracks - Released January 11, 2019 | Sony Classical

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Classical - Released November 17, 2017 | Sony Classical

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Film Soundtracks - Released September 20, 2011 | Madison Gate Records

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Celtic - Released May 21, 1996 | Hearts of Space Records

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Film Soundtracks - Released March 15, 2019 | New Line Records

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Film Soundtracks - Released November 20, 2015 | Walt Disney Records

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Film Soundtracks - Released March 15, 2019 | WaterTower Music

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Film Soundtracks - Released May 27, 2002 | Milan Music

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Film Soundtracks - Released May 16, 2014 | Varese Sarabande

Film Soundtracks - Released January 1, 2009 | Decca (UMO)

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The fictional concept of time travel manages to be simultaneously fascinating and completely ridiculous. The novel and now film The Time Traveler's Wife employs a variation of the concept that is similar to the one in Kurt Vonnegut's novel (and film) Slaughterhouse Five, in that an ordinary person doesn't travel back or forward in time in the manner of H.G. Wells' The Time Machine so much as become, as Vonnegut put it, "unstuck in time." Billy Pilgrim, Vonnegut's hero, kept traveling around his own life in the sense that his conscious mind just seemed to keep flitting, without his control, from his birth to his death and everywhere in between, pausing for a while here and there. Henry, the time traveler in The Time Traveler's Wife, also jumps back and forth in his life unable to control his travels, but he does so in a more literal sense than Billy Pilgrim; he keeps dissolving in front of people's eyes and reappearing at some other time or place, and without his clothes, to boot. As time travel tales go, this may be the silliest one yet, but it is placed in the service of a romance; the important character is really Henry's wife, Clare, who somehow manages to spend enough time with Henry to fall in love with him and marry him. In this way, you might say the novel/film is really just an analogy for a love story about a woman whose husband keeps getting called away on business unexpectedly. Mychael Danna's score for the film zeroes in on the romance and the conflict caused by Henry's constant disappearances. This is calm, sweet music, full of slow, considered piano parts supported by warm strings, at least a first. Things get a little more ominous as the music continues, however, with a sense of anxiety signaled by odd sound effects and bits of atonality. By the cue called "I Never Had a Choice," the strangeness of the situation makes itself felt. The two songs that are interspersed within the score respond to the overall theme, first Broken Social Scene's slow take on Joy Division's "Love Will Tear Us Apart" (the group actually appears in the film as the wedding band), and then Lifehouse's "Broken," with its repeated refrain, "I'm falling apart." That's what Henry keeps doing throughout the story, but, of course, a little thing like that can't stop true love, not in a movie like this, anyway. ~ William Ruhlmann
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Film Soundtracks - Released November 17, 2017 | Mystic Point Dickens Inc

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Film Soundtracks - Released March 15, 2019 | New Line Records

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Film Soundtracks - Released March 15, 2019 | WaterTower Music

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Film Soundtracks - Released June 6, 2014 | Varese Sarabande

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Film Soundtracks - Released November 8, 2013 | Varese Sarabande

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Film Soundtracks - Released August 9, 2019 | Varese Sarabande

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Film Soundtracks - Released May 16, 2014 | Varese Sarabande