Soundtrack
 

All the Money in the World

Music Composed By: Daniel Pemberton

Distributed by: Sony Classsical


Reviewed by Melissa Minners

 

                Based on the book by John Pearson, All the Money in the World chronicles the kidnapping of 16-year-old John Paul Getty III (Charlie Plummer) and his motherís (Michelle Williams) attempt to convince his billionaire grandfather (Christopher Plummer) to pay the ransom.  The longer he refuses to do so, the more violent his kidnappers become.  With her sonís life on the line, Gail joins forces with John Paul Getty, Sr.ís advisor (Mark Wahlberg) to find a way to get her son back.

                The musical score of All the Money in the World was created by British composer Daniel Pemberton, who has worked with the All the Money in the World director, Ridley Scott, before.  After Pembertonís debut film score for The Awakening, Ridley Scott was so impressed with his work that he hired Pemberton to score The Counselor.  He collaborated with the director again for The Vatican and Mark Felt: The Man Who Brought Down the White House.  He has also composed musical scores for Steve Jobs, Mollyís Game, The Man from UNCLE and King Arthur: Legend of the Sword.

                The music of All the Money in the World is all over the charts genre-wise.  All the Money in the World (Rome 1973) starts things with a classical sound with a European flare.  In addition to setting the tone of the locale through music, it also gives the listener a sense of upper-class involvement.  The following track, To Be a Getty, is actually somewhat of a mockery of the first, a darker version that seems a bit off.  There are tracks that contain church-like music, perhaps symbolizing Gailís fear for her son and who she might turn to for solace and hope.  There is a distinct Moroccan sound to some of the tracks, perhaps defining the kidnappers.  There are other tracks that contain opera music and still more that have a dark, classical sound, probably hinting at how dire John Paul Getty IIIís situation was becoming.

                This album contains a number of genres and styles Ė there is never a dull moment for the listener.  One minute there is rich, beautiful classical music, then the score becomes dark and downright creepy.  But then we move toward a church hymn style that speaks of serenity and beauty.  Then there is the sound of opera, speaking of culture and aloofness.  This album has it all.  What a terrific sound Daniel Pemberton has created and an excellent album for any fan of film scores. 

 

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