Fifty Shades Freed
June 26, 2017 at 5:36 pm #98242June 27, 2017 at 4:28 pm #98243
You really love this news, don’t you ddddeeee 🙂June 27, 2017 at 6:11 pm #98244
I do! Darker was a good score but the first is excellent and woefully underappreciated.September 7, 2017 at 6:33 pm #98303
This is recording today.
It seems as though Elfman took a break from Justice League to score this?January 8, 2018 at 7:25 pm #98502
As per usual, two Elfman cues on the soundtrack. No word on a score release yet.January 8, 2018 at 7:31 pm #98503January 15, 2018 at 6:41 pm #98510January 19, 2018 at 6:10 pm #98513
3. A Spat
4. Anna Wakes
6. Car Fun
7. Trouble in Paradise
8. That’s Not Hyde
9. Jack the Knife
10. Welcome Home
14. Seeing Red
15. Going Gets Rough
17. The Envelope
18. RescueJanuary 22, 2018 at 7:20 pm #98518
Cover art is up.February 3, 2018 at 12:58 pm #98533
Samples are on iTunes.
Really surprising actually. Lots of quirky sounds, and ‘Car Fun’…February 8, 2018 at 2:38 pm #98538
Here are the times of cues, 43:12 total minutes
01. Freed (2:11)
02. Makeover (2:21)
03. A Spat (1:35)
04. Anna Wakes (1:41)
05. Blueprints (1:29)
06. Car Fun (1:07)
07. Trouble in Paradise (2:36)
08. That’s Not Hyde (2:25)
09. Jack the Knife (1:15)
10. Welcome Home (2:39)
11. Hiking (1:10)
12. Nightmare (1:56)
13. Bail (3:05)
14. Seeing Red (2:44)
15. Going Gets Rough (2:34)
16. Ransom (3:58)
17. The Envelope (1:45)
18. Rescue (6:40)February 8, 2018 at 10:50 pm #98539
It’s a lovely and surprisingly quirky score. All the themes return, and it seems as though Ana and Christian’s themes become one at numerous points. There’s lots of action music anchored by Ana’s theme, and that strange, electronic sound that accompanied Jack’s scenes in Darker is back too. ‘Trouble in Paradise’ is an early favourite with that eerie yet pretty synth.
I can’t help but feel a little disappointed by the end though. There’s some lovely music there, but it never carries the heft one would expect from a trilogy closer – no doubt the ‘happy ever after’ scene has a song play over it instead. I’m guessing Elfman had no time to write a concert piece either, which is a shame.February 9, 2018 at 9:52 pm #98540February 11, 2018 at 5:26 pm #98541
No Bartek or Simone credited – they must have been busy with Justice League.February 12, 2018 at 8:02 pm #98545
the headline for that metro article should have been “Sex: Scored!” 😀
ddddeeee: I’m curious, if you had to put together a 45-50 minute compilation of the best tracks from the three films, what would it be?February 12, 2018 at 8:39 pm #98547
TBH I’d probably just choose the first score. I really think it’s wonderfully intelligent and inventive. Sam Taylor-Johnson gave Elfman a lot of room to breathe, while in the latter two he’s less prominent.
1. Ana and Christian
2. The Red Room
3. A Spanking
4. Clean You Up
5. The Contract
6. The Art of War
8. Did That Hurt?
9. Show Me
10. Counting to Six
12. No Strings Attached
13. The L Word
14. On His Knees
15. An Announcement
16. Making it Real
17. Trouble in Paradise
18. Welcome Home
19. Seeing Red
I omitted some cues I love because they’d disrupt the flow (Variations on a Shade namely).
February 15, 2018 at 10:06 pm #98560
- This reply was modified 5 months ago by ddddeeee.
Saw the movie. Some notes:
1. Elfman gets a sex scene! The cue isn’t on the score album though.
2. There’s a part near the very end where Elfman’s main theme segways into ‘Love Me Like You Do’. It’s a lovely little cue and rounds the trilogy off in a much more cohesive way than the score album does.
3. I still feel like this score feels quite separate from the first two. Maybe it’s the different orchestra? The lack of Bartek or Simone?
February 18, 2018 at 11:32 pm #98562
- This reply was modified 5 months ago by ddddeeee.
I just finished listening to the score for the first time. And I’m very pleasantly surprised.
What a breath of fresh air !!!
It is, in my opinion, the best listening experience, compared to the other two albums.
Even if I loved the themes, the first two scores were very repetitive.
I love the new sounds, the orchestrations are great. It’s light, subtle, and yet very inventive. A lot of new sounds for Elfman.
It reminds me sometimes of John Powell, in scores like I am Sam. « Makeover » or « blueprints » are perfect exemples.
I absolutely love it!!!!February 19, 2018 at 1:19 pm #98563
I’m somewhere in between.
I agree that Darker was possibly too dependent on the themes, but I also feel that Freed maybe needed a bit more of them. The comparative lack of the main theme and Christian’s theme is really quite odd.
The album situation is also odd. The album for Darker contained all of the music you would want for the film, but with Freed you have a few substantial cues missing. I appreciate that the final cue Elfman wrote for the series tied into a song so there were copyright issues…but it really tied the series together and it’s a real shame it’s missing. I’d also have wanted the cue for the sex scene in the car.February 19, 2018 at 5:25 pm #98564
With Elfman scoring this alongside Justice League and Buckley appearing at the recording sessions, I can’t help but suspect he played quite a big role here.February 19, 2018 at 7:48 pm #98565
Actually it turns out that Buckley is responsible for a few of the orchestral arrangements on a few of the songs.February 22, 2018 at 10:59 am #98569
Daniel Schewiger did a nice write-up of the score here.March 4, 2018 at 4:48 pm #98578
Just realised the main theme is used in this a fair bit.
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