As part of Variety‘s series of examinations of awards-worthy work in this year’s film music, we looked at four films that depict either historical events (Dunkirk, Battle of the Sexes, All The Money in the World) or were rooted in historical fact (Mudbound). Hans Zimmer’s Dunkirk score would seem to have the best chance at an Oscar nomination this year, although Nicholas Britell did a great job with Battle of the Sexes and Daniel Pemberton’s faux-Italian-opera for All the Money in the World is fascinating. And don’t count out Tamar-kali’s chamber-music approach to Mudbound — at a time when diversity matters more than ever, she could easily make the final five.
Variety editors asked me to take an early look at the original-score race at the Oscars, even though it was only November and there are still a number of films yet to be screened. Realistically, at this point there are about 25 legitimate contenders for the five available nomination slots, but at this early stage I think it’s best to present them without making predictions (which is always dicey anyway). Along the way I found room to talk about diversity and gender issues, which are likely to be a factor in the race; and what composers are talking about in terms of time and freedom to write the music that will best enhance their films. Composers quoted include Michael Giacchino (Coco), Dario Marianelli (Darkest Hour) and Tamar-kali (Mudbound).