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Forums Forums General Discussion Fifty Shades Freed

This topic contains 22 replies, has 5 voices, and was last updated by  ddddeeee 1 year, 4 months ago.

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    You really love this news, don’t you ddddeeee 🙂



    I do! Darker was a good score but the first is excellent and woefully underappreciated.



    This is recording today.

    It seems as though Elfman took a break from Justice League to score this?



    As per usual, two Elfman cues on the soundtrack. No word on a score release yet.



    30 seconds of score.

    It’s a more troubled take on ‘Making It Real’ from Darker.




    1. Freed
    2. Makeover
    3. A Spat
    4. Anna Wakes
    5. Blueprints
    6. Car Fun
    7. Trouble in Paradise
    8. That’s Not Hyde
    9. Jack the Knife
    10. Welcome Home
    11. Hiking
    12. Nightmare
    13. Bail
    14. Seeing Red
    15. Going Gets Rough
    16. Ransom
    17. The Envelope
    18. Rescue



    Cover art is up.



    Samples are on iTunes.

    Really surprising actually. Lots of quirky sounds, and ‘Car Fun’…



    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)



    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.




    No Bartek or Simone credited – they must have been busy with Justice League.



    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?



    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
    11. Nightmare
    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
    20. Freed

    I omitted some cues I love because they’d disrupt the flow (Variations on a Shade namely).

    • This reply was modified 1 year, 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?

    • This reply was modified 1 year, 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!!!!



    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.



    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.



    Actually it turns out that Buckley is responsible for a few of the orchestral arrangements on a few of the songs.



    Daniel Schewiger did a nice write-up of the score here.



    Just realised the main theme is used in this a fair bit.

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