Philippe Rombi
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I came across him by a recommendation at JWFan. Then recognized that he has a long partnership with director Francois Ozon.
Even though he has a record of electronic scores I think he is one of these rare cases of composers who still write more or less classical orchestral scores.
Therefore he is my type.
But as you, Nick, have a wider taste in instrumental music it’s probably no wonder he didn’t grab your attention.I read somewhere, that there are people calling him the French John Williams, which I would say is completely wrong. If I needed to compare him with a Hollywood composer I would rather call him the French Alan Menken, but without the musicals.
So, the movie score Menken, not the musical Menken. That is why at the beginning of this thread I compred LES ENFANTS DE LA RESISTANCE with Menken’s MIRROR MIRROR.Still, interesting that he’s not even on any compilation I have.
I tend to be somewhat composer oriented, rather than film or genre oriented. If I like a composer, I seek out more of his/her work, regardless of genre (orchestral/chamber/solo/film/electronic/whatever).I tend to be somewhat composer oriented, rather than film or genre oriented. If I like a composer, I seek out more of his/her work, regardless of genre (orchestral/chamber/solo/film/electronic/whatever
That for me applies to John Williams
and my favourite rock/pop artists.
But for other film composers I found, that even if I am a fan of some of their scores, I am still just interested at maximum in about 60% of their work. John Williams is the exception in that regard.In my case, it’s often “everything” (as in case of Jerry Goldsmith, Bernard Herrmann, Alex North, Leonard Rosenman, Miklós Rózsa, etc…) or hardly anything. It either “klicks” or it doesn’t. Of course, I also have a lot of composers where I like some of their stuff, but don’t feel the need to investigate “everything”.
We had some interesting discussions on «completism» in this thread by Gerate.
I don’t think I’ll ever be a Rombi completist, but definitely want to build my collection a little bit, maybe based on the recommendations here. I find mini walkthroughs like this super useful.
I don’t think I’ll ever be a Rombi completist, but definitely want to build my collection a little bit, maybe based on the recommendations here. I find mini walkthroughs like this super useful.
Happy to hear that my presentation might not be just for the bin. 🙂
Maybe it’s helpful because you know my taste a little.And in the meantime my old formula “Thor’s taste is just always the opposite of mine” doesn’t seem to suffice anymore. 😉
At least sometimes.Just looked I have two Rombis: Angel and Une Hirondelle a Fait le Printemps. Haven’t listened to them for ages but “records” say I liked them.
Apparently he didn’t click as with Nick. Sometimes that happens never or later. I think even Goldsmith was not “love on first sight” end of the 80s/early 90s. I think I heard First Blood and Alien among the first and didn’t get into the dissances first.
Jerry Goldsmith was love at first hearing for me, and indeed through the scores FIRST BLOOD, POLTERGEIST, and STAR TREK – THE MOTION PICTURE, and is probably more responsible than any other composer for my lasting and deep interest in film music.
Maybe Rombi hasn’t “clicked” because I haven’t even seen many movies he scored, so I have encountered hardly any of his music. Only SWIMMING POOL comes to mind as one I’ve seen.
One reason why I put Rombi into one bucket with Alan Menken is because he is great in that feelgood or melancholic drama, romance or comedy area. When it comes to thriller or suspence like in VISIONS or DALLOWAY I find his music rather boring, at least on its own.
And to be honest, I don’t mind haven’t seen many of his films. But probably I am going to one day.
Just looked I have two Rombis: Angel and Une Hirondelle a Fait le Printemps. Haven’t listened to them for ages but “records” say I liked them.
@Malte: If you don’t need your copy of ANGEL anymore, maybe we can trade?@Malte: If you don’t need your copy of ANGEL anymore, maybe we can trade?
Sorry, I only have it digitally.
I just remember that I saw that animated ASTERIX Netfix series with his score and found it quite fitting and enteraining within.
Sorry, I only have it digitally.
🙁
I just remember that I saw that animated ASTERIX Netfix series with his score and found it quite fitting and enteraining within.
But the Netflix series wasn’t scored by Rombi. Just the two movies.
My dog and I are a fan of the latest Children of the Resistance album. Dog finds it relaxing. I still do plan on getting the CD.
I wish I had a pet with particular taste in music. Our cats seem to be quite indifferent to what I listen to.
There’s a new Disneyland thing released, called “Adventure Way”, that people are speaking about. Sampling it on Spotify now, and it’s okay — but can’t compare to the more elegant European affairs Rombi does (yes, yes, I know Disneyland Paris is in Europe). Very “glitzy” and Hollywood – could have been composed by John Debney or the like.
Yes, it’s very pretty music, imbued with that generic Disney ‘Life Is Perfect’ sound. Enjoyable enough but I much prefer his meatier film music.
I’m a big fan of Rombi and have every score available on CD by him.
I enjoy his light, frothy orchestral touch in his earlier scores and although some of his recent thriller efforts have been a tad droney and dull, I always look forward to any new films by him.
Regarding the comment above about Rombi being the French John Williams. I’ve always figured Frederic Talgorn owned that title, due to his musical style being so similar.
Rombi is certainly in my Top 5 favourite French film composers, alongside Talgorn, Georges Delerue, Maurice Jarre and Philippe Sarde, although I also very much like Alexandre Desplat, but he can be quite hit and miss for me (but then, so too can Maurice Jarre as well, so I’d put them at 4 & 5).
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