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Rating: Donnie Darko has been one of the most acclaimed films in Europe in the last semester. The plot of this movie is certainly one of the most complex, convoluted, and (at times) psychedelic ever seen on the big screen. In few but (I hope...) enlightening words, I come to describe the associated soundtrack.
It's amusing to appreciate how, if on one hand, the feature film unfolds essentially on the existence of multiple parallel realities (or universes) that should never intersect, on the other hand, we have this soundtrack with two seemingly contrasting souls.
The first hermetic, desperate, allows itself only a few soft jumps into the light, accompanying us in a gondola into a world made of echoes and effects that, in some cases, almost overshadow the melody or become an integral part of it. Perhaps it aims to represent the protagonist's psyche, but it can also be appreciated without having seen the film's images. Moreover, this might be its heaviest anchor: being inextricably linked to frames of a film that, in some respects, is seminal for future cinema. Among them all, I quote a poignant, dramatic, very significant "Ave Maria" in this soundtrack.
The second open, liberating in some ways, refers back to the eighties, drawing heavily from it, presenting fun tracks like "Rio" or "Notorius" by Duran Duran, the more singable and uplifting "Head over Heels" by Tears for Fears, and finally the cruelly fascinating "The Killing Moon" by Echo & The Bunnymen, enveloping and warm like a blanket on a winter night. If in this second one light prevails, we also have tracks capable of creating deep wounds like "Mad World", which closes the film and describes the discrepancies of the human soul that are reflected in our relationships and, consequently, in the world.
The souls of the soundtrack in question are therefore complementary and blend into an artisticwhole, showing us lights and shadows of a reality made of nuances but also spatial, temporal, and emotional paradoxes.
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