Teddy Baldassarre
Hamilton Murph 38 Review
Before getting into the Hamilton Murph, you know I have to put it into the context of the film it’s so tightly connected to. It is hard to believe more than a decade has passed since Interstellar hit theaters in late Fall, 2014. The movie was the first post-Batman Trilogy film from then-loved but not-yet-immortally-loved Christopher Nolan. Having not been a Nolan devotée up to that point, and also having been a staunch defender of John Williams in the wake of what I then felt was a premature coronation of Hans Zimmer (I’m sorry, but the Batman scores were more tonal exercises than music), I went into Interstellar excited, but I tempered it as best I could. The Hamilton Murph And Interstellar We also cannot forget that, one year prior to the film’s release, Nolan released one of the better teasers of the 21st century, complete with an original score that we would soon learn Zimmer had completed prior to the cameras rolling. I immediately noticed that this was a different Nolan and a different Zimmer. So when I sat down in the cinema, the subtle whisper of Zimmer’s theme, “Dreaming of the Crash,” slowly built over the Paramount Pictures logo and into the film’s opening, I knew I was in for capital-C cinema. For the next two-plus hours, I let the film envelop me. A sentimentalist, I fell hard and easily for the generational family story that was being told and the way the melody of the score manipulated my emotions. Sure, there were bits of Kubrick cribbing, b...
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