If you haven’t yet heard of Clint Mansell’s Lux Aeterna (from Aronofsky’s Requiem for a Dream), then don’t Google that just yet, because it was and still is a masterpiece in its own genre. Whatever genre that may be. His work for Aronofsky’s 2006 film, The Fountain (features Rachel Weisz and Hugh Jackman) is of a similarly haunting calibre. Except, unlike the incredibly graphic and dystopian Requiem, The Fountain reflects on mortality and love. And the music, much like the movies of Aronofsky, is enchanting and complex, telling a story without the need for words.
Some argue that the soundtrack music is a masterpiece separate from the movie. It’s hard to tell what influences what — does the movie dictate the feel of the music, or did the music create the movie’s ambience?
Imagine a split screen. Two individuals, separated by a wall of some sort — be it time, space, science fiction dimensions, or a physical divide. Two individuals so perfect in so many ways living parallel lives, their worlds never intersecting. And if you believe in karma, with every life they live, there is a tiny window of opportunity that they both narrowly miss. And, as all poignant stories go, they continue to miss one another, only living their joined lives and potential happinesses in fragments of their dreams. Waking each day to an eschewed possibility, hoping only for night, when the possibilities return. Slowly, they become addicted to their dreams, to their manifested realities. Until the day they meet of course. /end scene.
The Wall Flour 