Operation Finale (Original Motion Picture Soundtrack) Alexandre Desplat

• 1 Operation Finale 02:28
• 2 Sacrificed Children 01:44
• 3 Nazis Rising 05:18
• 4 Malkin's Memories 03:40
• 5 Setting Up Operations 06:06
• 6 Stakeout 06:32
• 7 Death 01:17
• 8 Killing in the Woods 01:36
• 9 Race to Airport 02:02
• 10 Solingen Blade 04:36
• 11 Number 45326 02:48
• 12 The Monster 04:54
• 13 Lost Children 03:14
• 14 Air Control 03:53
• 15 To Israel 03:05
• 16 Operation Finale (Orchestral) 02:28
• 17 Sorrow 02:24
• Total Runtime 58:05

Info for Operation Finale (Original Motion Picture Soundtrack)

“Operation Finale” is an upcoming American historical drama film directed by Chris Weitz and written by Matthew Orton. The film stars Oscar Isaac as Peter Malkin and Ben Kingsley as Adolf Eichmann, with Lior Raz, Mélanie Laurent, Nick Kroll, and Joe Alwyn in supporting roles. The plot follows the story of the Jewish Nazi hunters sent out to find and capture former SS officer Adolf Eichmann in 1960. Alexandre Desplat wrote the score.

The opening cue which bears the name of the score hits me instantly with how purely Desplat it is; in 2017 his output has been different, varied, with a greater depth and I had kind of forgotten why I usually couldn’t connect with a Desplat score. The Wes Anderson like quirks of this particular cue, with what sounds like a xylophone and also a short military motif puts me in a state of unease. It’s a personal thing, this sound is not my cup of tea. It also dilutes the drama of story as after such an opening which makes me think more of a dark comedy comes “Sacrificed children”, a more tempered piece, with a somber choir and a haunting violin motif which should have had a bigger emotional impact on me. I should also point out that I am usually not a bug fan of military scores, of that dry marching percussion, of those cold vibes. I admit “Nazi’s rising” gives me chills and makes me feel uncomfortable which means the composer reaches his goal without me necessarily enjoying the music.

I warm up to the score when I hear “Malkin’s memories” with its reflective piano motif and the tense string background. Once again the mood isn’t just emotional as Desplat sneaks in some of his quirky mannerisms and puts a question mark on everything; the music makes me think of people investigating, not staying put, of somebody searching continuously for something and the focus of the score is more on these actions than on thoughts and emotions. This is why Desplat’s music is 90% of the time way more enjoyable in the context of the movie then on its own: without the supporting images and story for me the music often feels repetitive and I don’t mean within this score but in the larger picture of Desplat’s career.

Every now and then though a cue like “Death” comes along and I can find no fault in it. This is like a negative picture of “Malkin’s memories” where the roles get reversed between instruments; this time the violin gets center stage and the piano provides the tense background. Nuggets like this are the most enjoyable moments from “Operation finale” for me.

Alexandre Desplat wrote a score that is, in a way, classic for him; fans of his quirks and jumpy pace will undoubtedly enjoy this one both in the movie and on its own; the composer knows these paths so well that I am sure writing a score like this is easy for him. He has developed this sound for years and he never fails to provide the most faithful companion the on screen story needs. The standalone listening experience for me though was not very fulfilling. (Source: soundtrackdreams.com)

Alexandre Desplat
Composer, orchestrator and conductor, two times Academy Award winner, Alexandre Desplat, eleven-times Academy Award Nominee, with over hundred scores and numerous awards to his credit is one of the most worthy heirs of the French film scoring masters.

A true cinephile, his approach to film composition is not only based on his strong musicality, but also on his understanding of Cinema, which allows him to intimately communicate with directors. Inspired by the works of Maurice Jarre, Bernard Herrmann, Nino Rota or Georges Delerue, he expressed his desire to compose for Cinema early on but really made his decision after listening to John Williams’s score to Star Wars.

Raised in a musical and cultural mix with a Greek mother and French father who studied and were married in California, he grew up listening to the French symphonists Ravel and Debussy, to World Music and to Jazz. He studied piano and trumpet before choosing the flute as main instrument and enriched his classical musical education by studying Brazilian and African Music, which later will lead him to record with Carlinhos Brown and Ray Lema. While composing for Cinema and Television he started writing a lot for Theater companies such as La Comédie Française, which allowed him to understand the importance of dramaturgy and how to adapt carefully his music to actors performances.

During the recording of his first feature film, he met a rare violinist, Dominique "Solrey" Lemonnier, starting an exceptional artistic exchange. She became his favorite soloist, concertmaster and artistic director. With her special sense of interpretation and her creative spirit, she has inspired Desplat’s compositions, influencing his music at its core. Together they have created a new way of using for the strings in film music.

After scoring 50 European films, with legendary French directors such as Philippe de Broca or Francis Girod, he burst in 2003 onto the Hollywood scene with his evocative score to Peter Webber’s GIRL WITH A PEARL EARRING which earned him nominations at the Golden Globes, BAFTAs and European Film Awards. His singular and remarkable scores for the films of Jacques Audiard showed a new musical voice and his composition for THE BEAT THAT MY HEART SKIPPED in 2005 earned him the Silver Bear at the Berlinale as well as his first César.

Alexandre Desplat then started to expand his U.S. career keeping his European collaborations by composing for Stephen Gaghan’s SYRIANA, Jonathan Glazer’s BIRTH, Florent Siri’s HOSTAGE, and Jacques Audiard’s A PROPHET.

In 2007 he received his first Academy Award nomination for Stephen Frears’ THE QUEEN which earned him his first European Film Award. The same year he won the Golden Globe, the Los Angeles Film Critics Association Award and the World Soundtrack Award for his score to John Curran’s THE PAINTED VEIL, performed by Lang Lang.

He composed in 2008 for Florent Siri’s INTIMATE ENEMY, Ang Lee’s LUST, CAUTION, and David Fincher’s THE CURIOUS CASE OF BENJAMIN BUTTON, which earned him a second Oscar nomination and a fourth BAFTA and Golden Globe nomination.

With his score for Roman Polanski’s THE GHOST WRITER in 2010, starting an inspiring relationship, he won a second César and a second European Film Award. The same year, he wrote the music for TWILIGHT-NEW MOON by Chris Weitz, a platinum record, Anne Fontaine’s COCO BEFORE CHANEL and for Tom Hooper’s THE KING’S SPEECH for which he won the BAFTA, the Grammy Award and receives his fourth Academy Award nomination and his fifth Golden Globe nomination.

In 2010-2011 Alexandre Desplat scored David Yates films HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 and HARRY POTTER AND THE DEATHLY HALLOWS, PART 2, which became the third most successful movie of all time. As eclectic as prolific he wrote nine score in 2011 including Terence Malik’s TREE OF LIFE, Roman Polanski’s CARNAGE, Wes Anderson’s FANTASTIC MR FOX, Daniel Auteuil’s THE WELL’S DIGGER DAUGHTER and George Clooney’s THE IDES OF MARCH.

In 2012, keeping his artistic exchange with European directors, Alexandre Desplat collaborated with Kathryn Bigelow for ZERO DARK THIRTY, Matteo Garrone for REALITY, Gilles Bourdos for RENOIR, Jérôme Salle for ZULU, Wes Anderson for MOONRISE KINGDOM and Jacques Audiard for RUST AND BONE for which he won a third César. He also scored ARGO by Ben Affleck, which was awarded the Oscar for best film, and earned Alexandre Desplat a sixth nomination at BAFTA, as well as a fifth nomination at the Golden Globes and the Oscars.

He signed in 2013 the scores of THE MONUMENTS MEN by George Clooney, Roman Polanski’s VENUS IN FUR, Stephen Frears’ PHILOMENA, for which he received his seventh BAFTA and his fifth Oscar nominations.

In 2014 he scored Gareth Edwards’s blockbuster GODZILLA, and received a rare double Academy Award nomination for his scores of Morten Tyldum’s THE IMITATION GAME and Wes Anderson’s THE GRAND BUDAPEST HOTEL, which earned him a BAFTA, a Grammy and his first Oscar.

Member of the jury at the Festival de Cannes 2012, he became the first composer President of the Jury at the Mostra di Venezia in 2014. Celebrating their longtime partnership he has conducted the London Symphony Orchestra for a concert of his works at the Barbican Theater in London in December 2014.

In 2018, Alexandre Desplat wons for Guillermo del Toro's THE SHAPE OF WATER his second Academy Award, second Golden Globe and third BAFTA. He was nominated in 2019 for an Oscar and a Golden Globe for Wes Anderson's ISLE OF DOGS, and in 2020 for an Oscar, a Golden Globe and a BAFTA for Greta Gerwig's LITTLE WOMEN.

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