'Hong Kong Garden' kicks off, beginning with a brief prelude that at first sounds like it escaped from A Chamber Music Tribute to Siouxsie Sioux but then sounds utterly right, and helps make the rest of the soundtrack's switches from pop to classical and back again sound inspired instead of forced there's a lightness and playfulness in the new wave songs that connects them to 's Concerto in G.
Disc one relies on new wave to illustrate the giddy rush of her rise, while disc two is mostly electronica and darker, more atmospheric classical pieces tracing her fall with a stylish, bittersweet atmosphere similar to the and soundtracks. The size of the soundtrack suggests the decadence of her times, but the way the music is actually used is far from indulgent.
In fact, its mix of new wave, post-punk, dream pop, electronica, and classical pieces really sells 's vision of Marie Antoinette as an innocent young girl, transformed into her era's version of a hipster fashionista, who gets in way over (and ultimately loses) her head. Marie Antoinette is a stage musical with music by Sylvester Levay and lyrics by Michael Kunze, the authors of Elisabeth, Mozart! The Libretto was written. The full soundtrack to the movie - all two discs and 90-odd minutes of it - keeps this bold contrast, but gives it more nuance.Īfter using pop songs as active agents of characterization in both The Virgin Suicides and Lost in Translation, Sofia Coppola's film about the 18th century party-girl. The way the visuals and music clashed in the first round of trailers for Marie Antoinette, in which the teenage Queen of France and her powdered wig- and silk brocade-wearing courtiers frolicked in the garden and played dice to the strains of 's 'Ceremony,' fell somewhere between being exciting and contrived.
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