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Metegol

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METEGOL O.S.T. (Artist) Format: Audio CD
2.7 2.7 out of 5 stars 4 ratings
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Audio CD, Import, August 6, 2013
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Editorial Reviews

SOUNDTRACK METEGOL

Product details

  • Product Dimensions ‏ : ‎ 5.63 x 4.88 x 0.47 inches; 2.82 ounces
  • Manufacturer ‏ : ‎ Wea
  • Item model number ‏ : ‎ 3299039949122
  • Original Release Date ‏ : ‎ 2013
  • Date First Available ‏ : ‎ July 16, 2013
  • Label ‏ : ‎ Wea
  • ASIN ‏ : ‎ B00DUUBC7W
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    2.7 2.7 out of 5 stars 4 ratings

Customer reviews

2.7 out of 5 stars
2.7 out of 5
4 global ratings

Top reviews from the United States

Javier Bartoli
1.0 out of 5 stars One Star
Reviewed in the United States on February 6, 2015
Verified Purchase
is the cd of music no the film...
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JonBarry Sabin
3.0 out of 5 stars Three Stars
Reviewed in the United States on February 16, 2015
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music was not what I expected
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Jon Broxton
4.0 out of 5 stars Goooooooooooooooooooooooooooooooooooooooooooooooooool!
Reviewed in the United States on March 21, 2014
Metegol – also known variously as Foosball, or Futbolín – is a 3D computer-animated comedy adventure film from Argentina directed by Juan J. Campanella. The film is inspired by the short story “Memorias de Un Wing Derecho” by Roberto Fontanarrosa, and tells the story of Amadeo, a shy but talented table football player who must re-connect with his former teammates and once again challenge his bitter rival, Grosso, for the foosball championship of Argentina. The film was an enormous hit in its native country upon its release in July 2013, and has a surprisingly rich and powerful score by Argentine composer Emilio Kauderer. With the might of the London Symphony Orchestra at his disposal, Kauderer impresses greatly with some big, powerful sports-fuelled action and drama, with all the heroism that implies.

After a brief (if clichéd) performance of Also Sprach Zarathustra, the score starts on a magical note with a presentation of the score’s main themes: beginning with a beautiful flute solo, “Contame Una Historia”, Kauderer’s music eventually gives way to a lilting accordion to give the score some geographical specificity, and rounds out the cue with a lovely piano solo. These themes heard in the first cue receive several statements as the score progresses, notably in the sweepingly romantic “El Beso”, the majestic “Festejos”, the intimate “El Secreto”, but the are also often turned inside out or vividly re-orchestrated as the style of the scene dictates, cleverly disguising their origins.

Instead, Kauderer often provides individual set-pieces of great worth, jumping from style to style across multiple genres. The horse riding gauchos of the pampas get a fabulous wild-west inspired theme in “El Jinete” and later in “Se Llevan Jugadores” and “Ratas”, all of which Elmer Bernstein would have been proud to call his own. “La Destrucción” is an ominous action sequence, all flashing strings, hooting contrapuntal woodwinds, and thunderous brass clusters. Parts of “Avestruces” have the angelic, choral innocence of early Danny Elfman., but it becomes something akin to the galumphing footsteps of Godzilla as the cue develops. “Buscando Jugadores” is a joyous vocal track featuring the Puerto Rican reggateon band Calle 13. “Aterrizaje” is a rollicking adventure piece with a superb trumpet theme. “El Beto” is a wonderfully vivid piece of old Hollywood slapstick comedy music, complete with rolling trombones.… and so on it goes, through the finale which includes everything from an ornate harpsichord-inflected version of the main theme in “Barroco”, an action cue riffing on Wagner’s Ride of the Valkyries in “Las Valkirias-Laboratorio”, and an appropriately enormous and cathartic conclusion in “Heroes”.

Some might find the constant jumping from style to style irritating; the score never does quite sit in one place long enough to develop a consistent flow, moving from western pastiche to flat out comedy to action to pathos to romance, and back again, often in consecutive cues, and if you let it, it could easily make your head spin. Having said that, a composer has to score the film in front of him, and with a film like Metegol, sometimes you just have to go with the flow and marvel at the sheer depth and range of Kauderer’s expertise and compositional knowledge on display here – it should more than make up for the album’s slightly schizophrenic narrative.
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