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All The Money In The World by Daniel Pemberton (Review)

posted Jan 12, 2018, 9:42 AM by Kaya Savas

Daniel Pemberton reunites with director Ridley Scott for All The Money In The World. The movie made headlines when Scott decided to replace Kevin Spacey with Christopher Plummer. The interesting part is that while lots of reshoots were done, Pemberton’s score remained unchanged. While the music he wrote was based off Spacey’s performance, it still fits perfectly in this crime-drama about greed and power.

All The Money In The World opens with its central motif right at the start of track 1 before opening up into a big symphonic expression. We will hear this big expression once more to underscore Getty’s arrival, and for a third time at the conclusion. The rest of the score is way more nuanced and intricate, and puts on display Pemberton’s knack for rhythm-based scoring but in a way more light-handed approach. When the score needs to build some energy or tension, the rhythms come out. The tone of the score is rather interesting as well, it paints Getty in a bit of a gothic style. From the tranquil character-building moments to the more classically inspired swells, Getty is portrayed musically as the greedy Scrooge whose mansion sits atop the town under a thunderstorm, but it never becomes too much. Nothing in this film is done in excess. The reserved and restrained approach makes everything feel extremely real, and the performances are top-notch. In fact one could argue that the movie could have used some some more finesse and a bit more flair, but as it stands the whole package is quite solid and well done. Pemberton’s score is always working under the surface for the most part except for a handful of times where the score takes the spotlight.

Overall, All The Money In The World is a tightly executed narrative in both image and music. The score accompanies the performances very well without ever doing too much. Getty is such an integral and central character in the film, and the heart of the score is the music that fleshes the character out. While there are moments of tension that display Pemberton’s expert rhythmic builds, it’s the light-handed approach at character scoring that makes the score such a success.