By Michael W. Harris
Back in August I went and saw Kubo and the Two Strings for my birthday and was struck by how well the score, by Dario Marianelli, balanced traditional Hollywood scoring techniques with an aural evocation of Japan’s traditional music culture. This was certainly helped by the fact that the titular Kubo is a shamisen playing, orgami folding, magic wielding boy, but so many times Hollywood films have substituted “vaguely Asian, but not Indian” instrumental sounds for any film set in China, Japan, or Korea. And the truth is that there are some very distinctive differences between the musical cultures of these countries.
This can be clearly demonstrated by a simple comparison between Kubo and the 2013 big budget adaptation 47 Ronin that was simultaneously awful, offensive, and also strangely entertaining. Continue reading “How to Score Japan on Film: Kubo and the Two Strings vs. 47 Ronin”