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The Fountain Soundtrack


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The Fountain + Soundtrack (Vinyl)
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Product Details

  • Audio CD (Nov. 21 2006)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Nonesuch
  • ASIN: B000IU3YKU
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: #18,390 in Music (See Top 100 in Music)

1. The Last Man
2. Holy Dread!
3. Tree Of Life
4. Stay With Me
5. Death Is a Disease
6. Xibalba
7. First Snow
8. Finish It
9. Death Is The Road To Awe
10. Together We Will Live Forever

Product Description

Product Description

For the soundtrack to writer-director Darren Aronofsky's long-awaited sci-fi epic, The Fountain, Kronos Quartet reunites with composer Clint Mansell. The had previously collaborated on the haunting score for Aronofsky's Requiem For A Dream.

Amazon.ca

The Fountain is a layered, often beautiful score from composer Clint Mansell. The disc seamlessly moves from ambient drones to plaintive piano music to slowly percolating minimalist stuff to hugely swelling strings. Mansell, who's collaborated with director Aronofsky before, uses almost anything from the minor-key sonic palette available to him, with the exception of the mopey yuppie-folk and instantly dated electronica so often thrown into films. Mansell's own group, the superlative Kronos Quartet, is joined by Scottish noise act Mogwai. The use of such an arty, detuned guitar rock band as Mogwai in a big time movie soundtrack might seem weird, though of course Explosions in the Sky's work on Friday Night Lights was a harbinger. It's too soon to tell if this is an outright classic of soundtrack music in the realm of Goblin's Suspiria, John Carpenter's Escape from New York, or Popol Vuh's Aguirre. But it is definitely a subtle, melancholic work you'll want to revisit often. --Mike McGonigal

Customer Reviews

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Most helpful customer reviews

3 of 3 people found the following review helpful By E. A Solinas HALL OF FAMETOP 50 REVIEWER on April 6 2007
Format: Audio CD
You can tell a lot about a movie by its soundtrack -- comedies get cute pop tunes, action gets harder stuff, and drama has somber compositions.

But the exquisite genre-bender "Fountain" was graced with a sweeping, celestial collection of songs, which were a collaboration between composer Clint Mansell's group, the Kronos Quartet, and the Scottish experimental group Mogwai. It's filled with the sorrow of death, the joy of love, and all the feeling that music can muster.

It opens with a gentle piano solo, which trickles into a web of slow, ominous strings. "The Last Man" opens the album on a somber note, and moves down the emotional scale from jagged unhappiness to a gentle, slightly achy sound. As it blossoms out into a rising violin solo, your heart will be breaking.

Then it dips into more uncomfortable turf -- the eerie "Holy Dread," with its hints of chants, dark drums and rattly noises, and the shimmering swirling guitars of "Tree of Life." But then Mansell and Mogwai move back into the orchestral mood -- sweeping, shimmering melodies with a sort of spacey feel, and dark-edged neoclassical instrumentals.

It rises to a heart-pounding climax in "Death is the Road To Awe," with the music getting louder and more intense, and picking up tempo... before exploding into what sounds like an angelic rock song. The final song is very different in tone -- very quiet, mellow and almost happy.

Well, Darren Aronofsky's movie is full of death, war, sorrow, love, space travel, and immortality. Somehow it's not too surprising that a normal soundtrack wouldn't do, and that a mixture of neoclassical instrumentals and space-rock are needed to really accentuate the beauty on the screen.
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1 of 1 people found the following review helpful By Dr. Stephen M. Sagar on March 12 2007
Format: Audio CD Verified Purchase
I have not seen the movie yet, but this soundtrack album by Clint Mansell is a classic. The music is minimalist, haunting and entrancing. Stands alone as a work of art. Beautifully played by the Kronos Quartet.
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1 of 4 people found the following review helpful By Mark Twain Chris on Nov. 25 2006
Format: Audio CD
where is the music from the trailer / theme song of the film!?!? none of these tracks contain the theme used for the film.. or if they do its not apparent in the samples provided. any one have a clue? on clint mansell's myspace he has "trailer" as a sample. ...thats not on the score, though.... -_-
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 95 reviews
89 of 94 people found the following review helpful
A -- film -- score. Nov. 30 2006
By Jason - Published on Amazon.com
Format: Audio CD
...and I emphasize "film" because that is exactly what we have here -- the musical counterpoint to a motion picture. Being a pretty avid fan of the orchestral works that give life to their respective films, I've had a lot of chances over time to experience the contrast that exists between a score's function within a film, and a score as presented on album, as a separate musical entity dismembered entirely from the imagery it accompanies.

For me, Mansell's 'The Fountain' is truly special because, like so very few film scores, it is able to retain a sense of lucidity in the midst of its abandonment from Aronofsky's film. Granted, I found the film, visually, to be utterly stunning and unique; its images often powerful enough, on their very own, to evoke an uncommonly strong emotional response. Thus, the question that might be contemplated will be whether or not Mansell's score is in itself truly a work of greatness, or perhaps just a good score that happens to service a work of "visionary" (truly applicable) genius. And yet, there is really no way to answer this, because in the context of the film, Mansell's score, just as much as any other element, is an unrelenting force that propels and enhances each and every emotion being felt. I do believe, without any doubt in my mind, that 'The Fountain', as an album -- listened to without being acquainted with the film -- will not impress, nor affect, to any degree like that of someone who's absorbed the various ideas and sentiments gathered in experiencing the film. This, in many cases, could serve an argument in disfavor of Mansell's score as an illustrious composition, for I've heard a great deal of scores that, musically, are equally as potent an experience (often even more so) than that of their fusion with an un-scored film. To me, 'The Fountain' proves the exact opposite -- the only reason it works so well as an ALBUM is because the associations it so effortlessly evokes -- so intimately inborn to the images it nourishes -- are, literally, at the very hand [mind;ears;heart] of the listener who's experienced its intentions within the proper context. While I've seen this declaration thrown about a million times in reference to a film's score, 'The Fountain' stands at the very highest plane of that specific inclination.

This is an emotional score. On my first (and only) viewing of the film, much evaded my mind, but an affection that stayed intact amidst the confusion was that of a piercing to my heart. Much of the music on here brings tears to my eyes, and I don't mean to use that in the trivial sense; when I hear "Stay With Me" (which actually appears several times in the film), the image of Tommy, alone in his "bubble" amidst the vastness of space -- desperately clinging to The Tree of Life as its spirit slowly dissipates -- breaks my heart with its hopeful yearning crushed by a sense of devastating loss. During this, and other scenes in the film, Aronofsky so beautifully halts the pace, demanding a true ingestion of the feelings swirling around in ones head, and heart. Likewise, Mansell's score follows the same formula -- it is sublimely reflective, by which a sense of beauty and resonance develop; from that pensive but free-willed expression, a desperate affinity devours the soul.

Mansell's instrumentation is generally simple -- solitary strings and piano permeate amongst a celestial, bounteous ambiance -- a tact that provides at once a spatial isolation and (courtesy the weeping strings and tender, heartfelt piano), amidst that, a contrasting empathy for Tom and his universally Human quests in life, amidst such fateful circumstance. When its not floating in a pool of idle meditation, it remains melodic and, in its more driven moments, passionate and emotive a different kind of level -- a resilient crusade for more -- for IT. No track demonstrates this better than "Death is the Road to Awe", which also accompanies the most overwhelming montage in the film's (late) climax -- in the one moment of down-and-out orgasm, Mansell employs an absolutely impeccable use of chorale burst amongst a score that, until this point, had so respectfully restrained from anything close to that level of bombast. Because of this, and the cue's particular significance to Tom and his glorious moment of "awe" -- I am drenched in a final, loving relief -- an exalted feeling that follows the preceding hope, fear, and tragedy that has forever dwelled inside him, and the score; this moment usually makes me cry.

I'm rambling, and forgetting the limited word count.
See the film, then buy this album.
118 of 127 people found the following review helpful
A brooding,powerful follow-up to"Requiem.." Nov. 28 2006
By Trottin'-Butterz - Published on Amazon.com
Format: Audio CD Verified Purchase
I saw this film last Sunday and thought the visuals and story were great,but the nucleus holding the film together was in fact the music.Clint Mansell ,the Kronos Quartet(whom I'll be seeing in concert this sunday),and Mogwai have accomplished what VERY few film composers of this day and age have been able to:create a nearly flawless masterpiece which makes the film more than a visual experience,but can stand on it's own as a treasured album.You probably won't appreciate the music as much unless you see the film first,though.

I would describe the music as some-what Philip Glass-esque,because it works its way into scenes in waves most of the time which ebb and flow,and then grow in intensity.Some tracks reach enormous heights of intensity,while others ride on the thin line between ambient music and a full,orchestral tone.At the soundtracks highest peak,probably in one of the last tracks,you will find the only really loud music for only a matter of maybe 30 seconds or so,and you should see the film to get a full grasp of how powerful that half-minute truly is!

I cannot believe some of the reviews this film is getting.The Czecks hated it I read,and most of the people who I've talked to that have seen it said they left after about 20 minutes;most left because the montage was too difficult to follow,and one guy even said he left with his girlfreind because "that stupid yoga part with the backdrop of stars was just too artsy."My film teacher is right.Film might be a dead art if all Americans want to see these days is 100% fast-cuts,neo-pop heavy metal infused action sequences,cutie-pie cartoons,and the same 10 love stories re-done every year with different actors and actresses,but the same old premise.

I simply can't comprehend how anyone could become bored watching such a powerfully interesting film such as "The Fountain".Show Hollywood what you'd like to see them produce by seeing this film and buying this soundtrack.I'll support it because I want change.
10 of 11 people found the following review helpful
inventive and thoughtful Jan. 25 2007
By a_guy_in_boston - Published on Amazon.com
Format: Audio CD Verified Purchase
I agree with other reviewers who note that the soundtrack complements the film. If you have not seen the film, then this soundtrack might sound Phillip Glass-like, perhaps repetitive, because its motifs are few in number and simple in structure -- although the scoring is complex. But if you have seen the film, then this music becomes far more interesting, not least because it rather eerily evocates visions and ideas from the film that are visual rather than aural in nature. Whether this is due to the music itself, or due to the fact that the film itself is visually overwhelming, I don't know, but the effect is very cool. The upshot is that this a fascinating film and a fascinating and enjoyable soundtrack. Watch the film, then buy the soundtrack, and you will not be disappointed.
3 of 3 people found the following review helpful
Haunting, beautiful, and brilliant Dec 2 2007
By N. Durham - Published on Amazon.com
Format: Audio CD
Darren Aronofsky's visionary masterpiece The Fountain is a sight to behold for sure, and one of the most memorable things about the film is the haunting score. Clint Mansell, who also scored Aronofsky's previous films Pi and Requiem for a Dream, provides the beautiful and haunting score for The Fountain, which may very well be one of the absolute best film scores you will ever hear. With assists from the Kronos Quartet and Scottish rockers Mogwai, Mansell provides a shockingly emotional, deliberately paced score that undermines the feelings of loss and love that Aronofsky exploited in his film. The end result is some of the most emotionally heartbreaking film score music ever crafted, and if you don't believe me there, give a listen to the closing "Together We Will Live Forever", played during the closing credits of the film. "Tree of Life", "Stay With Me", and "First Snow" also illustrate the haunting beauty of the film, and "Death is the Road to Awe" is nothing short of epic and heartbreaking. All in all, Clint Mansell's score to Darren Aronofsky's The Fountain is a haunting and brilliant piece of music that is both sad and beautiful at the same time, and needless to say that if you enjoyed the music in the film, the score is an essential pick up.
3 of 3 people found the following review helpful
Beauty, Glory and Awe Aug. 4 2007
By kaduzy - Published on Amazon.com
Format: Audio CD Verified Purchase
The haunting, stunning score to Aronofsky's "The Fountain" is the best film score of 2006, no matter who they gave the Oscar too. I am still heartsick that this, the best score I've heard since "Crouching Tiger, Hidden Dragon" -- and the one of only two that I've purchased since then -- was completely ignored by the Academy.

If you haven't seen the movie, listening to the score might not move you in the same way. But I can assure you that if you have, hearing this music on its own is the perfect way to recapture the intense joy and sorrow evoked by the film's sublime imagery without subjecting yourself to the sorrow that seeing Hugh Jackman weep for his wife can induce. The only complaint I have to make about this product is its packaging. It's in a slim cardboard cover instead of the usual plastic casing that a CD comes in, which means that if you line up your CDs as I do, instead of just sticking them into a wallet, it kind of disappears into the rest of the CDs. But that's certainly not enough for me to remove any stars from this perfect, gorgeous work of art.

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