Original film soundtracks have never been considered a potential source of profit by mainland Chinese filmmakers. Their movies, especially the big-budget blockbusters, favour orchestral scores to leave the viewer breathless with emotion during key scenes. Taiwanese and Hong Kong films tend towards gentle, sweet tunes to convey more subtle sentiments. There is, unfortunately, a serious lack of Chinese rock ‘n’ roll films (besides the rather disappointing Beijing Rocks) which, in the West, have long been reliable sources of great movie soundtracks. Testi dlya pomoschnika mashinista windows 7. Tsui Hark’s underrated 1993 period drama, an adaption of classic Chinese fairytale The Legend of Madame White Snake (白娘子传奇), tells the story of two lycanthropic snake sisters (one white; one green) journeying to the world of humans and falling in love with two moral men. The relationships are further complicated, as if that was necessary, by the scheming Buddhist monk Fat Hoi. Green Snake’s soundtrack is a collection of operatic scores and love ballads inspired by traditional Han Chinese instrumentations (mostly from the Song Dynasty) and Buddhist music offering a real flavour of exoticism.
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Known as the frontman of pop metal band Black Panther and, in entertainment circles, Mandopop superstar Faye Wong’s ex-husband, Dou Wei’s music is regarded as critically untouchable. This soundtrack album, composed for Ma Liwen’s emotional drama centring on an art student and her elderly landlord, brings Dou and his frequent collaborators Kai Shuo and Wu Na (collectively known as a project called Mu Liang Wen Wang [暮良文王]) together for an instrumental meditation on Beijing’s peaceful hutongs.
As the notes of guqin gently echo between the dialogue and atmospheric sounds in each track (divided by scenes), the listener is skillfully drawn into the world of the movie’s protagonists. Chen Kaige’s Cannes-winning epic gathers some of the brightest stars from popular music and Peking opera spheres. Composer Zhao Jiping was behind several Fifth Generation films including Zhang Yimou’s Raise The Red Lantern (1991) and To Live (1994). True to form, his pieces are heavy and operatic with the exception of the final song from Taiwan’s Sandy Lam and Jonathan Lee that is a tender love ballad. The soundtrack also features several famous Peking Opera and Kunqu songs performed by Wen Ruhua, a top operatic singer and Leslie Cheung’s Peking opera instructor in the film. Hong Kong director Pang Ho-cheung’s romantic comedy inspired by the city’s smoking ban gave him a big break on the mainland.
It was, however, a waste of his talent as an out-of-box-thinking filmmaker - check out his earlier, more experimental works like AV and Exodus. The soundtrack, on the other hand, is a light breeze next to the heavy selections we’ve made so far. Completely free of the Cantopop stereotypes, Alan Wong and Janet Yung composed a chilled-out collection of summery bossa nova, French repertoires and Cuban waltz. Highly recommended. Another symphonic piece to give you goosebumps, The Sun Also Rises was director Jiang Wen’s box office catastrophe, and a playground for his wildest dreams. A crazy woman building pebble-dashed shelter in the middle of nowhere, a wild bonfire party found by wanderers on a desert safari, a speeding train stopped by a baby lying on railway tracks - all are vividly reflected in the soundtrack.
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Composed by renowned Japanese composer Joe Hisaishi, a regular collaborator with Hayao Miyazaki and Takeshi Kitano, the orchestral chapters are as powerful as they can be sentimental, and the beautifully sung Xinjiang folk songs only add to that trophy.