Tag: film in concert

REVIEW: RRR in Concert

Published on by rinreolusolaLeave a comment

Rating: 5 out of 5.

An epic film, a live orchestra, a truly unforgettable cinematic event.

On Sunday 11th May, the Royal Albert Hall hosted a live screening of S. S. Rajanouli’s ‘RRR’, accompanied by the Royal Philharmonic Concert Orchestra. Originally released in 2022, the performance commemorated the ripple effect that the film has inspired both within Telegu cinema and internationally.

‘RRR’, translated in English to ‘Rise, Roar, Revolt’ is a three-hour epic, set in a fictionalised 1920s India, where the British Empire have occupied the country and are oppressing the native Indians. The film follows our two leads, Rama and Bheem, as they demonstrate enormous strength and resilience in their fights against colonial evil.

The film adopts an almost indulgent aesthetic, with many shots emphasising the beauty of the fictionalised landscape. With smooth, vibrant and stylised cuts, delicious melodrama and a live orchestra fully immersing us in the story, we are transported to new emotional heights.

During the three hour running time, no plot point is without significance and the film is paced remarkably well. We don’t just get the perspectives of both of our leads, but the story blossoms across the running time and what bursts forth is a truly resonant message of courage, rebellion and community. ‘RRR’ appeals to the very foundations of impactful classical storytelling; heroes and villains, friendship and love, freedom and bondage, brutality and tenderness, humour and heart, with an incredible sense of emotional resolution that demonstrates the importance of friendship. Steeped in mythical significance, we see empowered Indians rebel, roar and riot with the weapons they had all along – their shared culture, their community and their unrelenting
spirit.

One cannot review this film without mentioning the stellar performances of the leads, Ram Charan and N.T Rama Rao Jr. They portrayed Rama and Bheem, fictional imaginings of impactful Indian revolutionaries, also nodding to powerful Gods of Indian mythology with their superhuman strength. Within the first fifteen minutes, we see Rama fighting off hundreds of men, whilst Bheem kills a tiger. Fire and water imagery are expertly employed, a strong sense of symbolism that anchors us throughout the film. Both actors show astounding physical and emotional capability, accomplishing the difficult feat of balancing large scale stunt work, entertaining dance numbers and a sense of nuanced interiority in their performances that brought the audience to tears.

Special mention of course goes to the ‘Naatu Naatu’ number, a song which has won numerous awards, composed by M.M. Keeravaani. It is a rousing sequence in which Rama and Bheem show their superior dance ability in a British high society party. It is clear why the song won an Oscar for Best Original Song! The film was also nominated for Golden Globe and won two Critics Choice Awards and six National Film Awards, making it a cultural touchstone in international cinema.

During the pre-show talk, hosted by Ashanti Omkar, S. S. Rajanouli asserted that ‘art will
supersede anything else’, and this film is certainly a testament to that. The panel discussed the film’s worldwide impact, and that although it takes place in a fictional reality, it showcases aspects of Telegu culture and has a pivotal role in bringing together people across the Telegu and Indian diaspora.

‘RRR’ also evidently stands for the Rousing, Rip-Roar made by the audience during the film, who gave completely deserved minute-long applause throughout. ‘RRR’ is a feast for all audiences, and together with the musical stylings of the Royal Philharmonic Concert Orchestra, it was a truly unforgettable cinematic event.

REVIEW: The Silence of the Lambs

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

With haunting precision and cinematic grace, ASMF redefines the film concert experience—The Silence of the Lambs has never sounded so chillingly alive

The London Soundtrack Festival will quickly become one of the most exciting events in the film and music calendar, I am sure.  This year’s screening of The Silence of the Lambs with live orchestra proved exactly why: not just because you get the chance to revisit one of the greatest psychological thrillers of all time, but to experience Howard Shore’s iconic score played live by the Academy of St Martin-in-the-Fields, conducted with razor-sharp precision by Ben Palmer.

From the first moments, as Clarice jogs through the misty training course, the live soundtrack deepened the unease. You could feel it in your bones—the music didn’t just accompany the images, it sank into them, amplifying the mood in a way I hadn’t felt from the film before. Every breath, every rustle in the leaves, every glance felt heightened. And as Howard Shore later explained during the post-show Q&A, the score was always meant to orbit Clarice, to reflect her psychology, her courage, and her fear.

That focus was clear again and again throughout the film, especially in the tight close-ups of Jodie Foster’s face. Her eyes are so expressive—holding equal parts vulnerability and steel—and the music seemed to illuminate what couldn’t be said, what flickered just beneath the surface. I found myself noticing her more deeply, watching the tension build inside her frame, the anxiety stitched into the silence. In those moments, Shore’s score didn’t just accompany the film—it translated it.

Atmosphere photographed at The Silence of the Lambs – In Concert as part of the London Soundtrack Festival on Monday 24 March 2025 at Barbican Hall, London. Photo by Nicky J Sims ./ London Soundtrack Festival

The Academy of St Martin-in-the-Fields was phenomenal throughout. Their control and nuance were impeccable, shifting from delicate, barely-there textures to surging, full-bodied dread without ever overwhelming the screen. There’s a certain discipline in performing film scores live—it requires precision, timing, and emotional balance, and this orchestra nailed all three. The strings, in particular, carried an eerie sharpness, while the low brass and woodwinds seemed to breathe in unison with the film’s darker turns. As Howard later explained, he went for the dearest pallet of sounds. Also he used no trumpets, their sound being too happy.

The experience was made all the more special by the Q&A with Howard Shore himself. Warm, unpretentious  and filled with insight, he took us back to the early days of the film—recalling composing with pen and paper, memories of his collaborators, and moments of invention. He reflected on how this music came to life over 30 years ago, and he recalled old friends from the industry who are no longer with us.

And that was another surprise of the evening—the crowd skewed young. You could sense that for many, this was their first time seeing the film, and what a way to do it. Not on a laptop or late at night on a streaming service, but surrounded by live music, immersed in a carefully crafted sonic world, thanks to ASMF and the festival organisers.

This wasn’t just a film screening, it was an experience—cinema and music fused in real time, reminding us of the power of both. The Academy of St Martin-in-the-Fields proved they can go far beyond the classical concert hall—they can bring iconic film scores to life with a presence that’s both elegant and electrifying. I left the Barbican chilled, moved, and more in awe of this film than ever before.

REVIEW: Harry Potter and the Deathly Hallows Part 2 In Concert

Published on by Miles MorganLeave a comment

Rating: 4 out of 5.

“Hot on the heels of Halloween, a magical treat of a movie on a big screen with a spellbindingly talented orchestra accompanying it”

It may have been 13 years since Harry Potter and the Deathly Hallows: Part 2 hit cinemas but no refresher course was needed at the Royal Albert Hall last Friday. 

We all know the storyline – Harry and his friends are back, battling villains and protecting Hogwarts for the final time from Voldemort himself. After seven books and eight feature length films, it all comes down to this. 

The thrilling final instalment of the series was projected onto a high-definition screen that put the audience in the middle of the action, whilst Alexandre Desplat’s music was brought to life by the Royal Philharmonic Concert Orchestra and the English Chamber Choir. 

Conductor Justin Freer introduced proceedings at the start of the concert, as he did this time last year when the Deathly Hallows: Part 1 was screened at the same venue. I also reviewed that instalment. Just like last year Freer did a perfectly good job of the intro, and knows how to speak to a crowd with the right level of confidence to make people look forward to the evening ahead. But to reiterate what I wrote in my review that time, the concert would really benefit from a separate ‘special guest’ introduction given by someone who was directly involved in the movie. No disrespect to Freer; he’s very adept at carrying out an intro to a concert such as this. But to really enhance it and give it a proper ‘event’ feel, imagine someone like Tom Felton or the Phelps twins or Helena Bonham Carter saying a few words beforehand. Now that truly would be special.

As usual the orchestra and choir performed with precision and finesse. They added depth and emotion to what is already an exciting score. Scenes such as the one where Harry, Ron and Hermione escape Gringotts bank on the back of a dragon and fly over the London skyline were amplified in quality by the presence of a live orchestra.      

An enjoyable element of watching a Film in Concert is seeing which parts of the film garner a big public reaction. The famous line “Not my daughter, you bitch!” spoken by Mrs Weasley in this film is an iconic one. When I saw this film in my local cinema in 2011 the audience went wild at this line. Everybody was waiting for it and there was a loud cheer when Mrs Weasley finally said it, followed by a round of applause a moment later when she finished off Bellatrix Lestrange for good. It was a special cinematic moment to be part of, especially considering how restrained Brits are known for being in the cinema. We don’t even rustle our M&M packets during a quiet lull in a movie, let alone cheer at a pivotal moment. I therefore hoped the “Not my daughter…” line would receive the same reaction this time around, but alas it did not. It did conjure up a small cheer, but I guess this time nobody was hearing it for the first time. So the cheer did not have the spontaneity and excitement as the one in my local cinema all those years ago. But what was truly special this time around was the audience reaction to Dame Maggie Smith, in light of her recent passing. Her cheeky “I’ve always wanted to use that spell” line was met with heartfelt applause, and when her name came up in the end credits the audience gave her a standing ovation. It is these moments which make Films in Concert unique.

Films in Concert is a hugely popular genre which continues to grow as each year goes by. It is by no means a new concept and has been around for several years. But it is the kind of live experience many film fans hear about; realise is up their street and want to book tickets for. But many end up ‘putting it on their list’ and it becomes 50/50 whether they ever actually get organised and book tickets. Some never get round to it and therefore miss out. Others like myself do eventually get round to it and wish they had done it sooner. I first heard of the concept in the early noughties when I saw the film ‘Pirates of the Caribbean’ at the cinema with friends and commented afterwards how enjoyable the score by Hans Zimmer was. One friend replied that you could actually go and see popular movies with thrilling scores performed by actual live orchestras. Despite knowing it was right up my street and something I wanted to explore, it was nearly 20 years before I actually got around to seeing a Film in Concert for myself in 2022. I have since seen three Films in Concert (once the bug bites, the fever sets in) and in this short time I have seen the appeal for the genre grow considerably. More and more venues are getting in on the action, so it is important to choose wisely and go for the best if you are to really enjoy the experience. And if you are wondering what constitutes “the best”, the Royal Albert Hall and the Royal Philharmonic Concert Orchestra most definitely fit into this category.

REVIEW: Paddington in Concert

Published on by Maria Mădălina IfrimLeave a comment

Rating: 5 out of 5.

A narrative that strikes a chord with both young and old alike, featuring humour that is cleverly nuanced to entertain everyone – underlined by an amazing score!

Paddington in Concert, presented by STUDIOCANAL and Raymond Gubbay Limited, is an enchanting experience that beautifully encapsulates the timeless charm of this beloved tale. As someone who has surprisingly not been enchanted by Paddington’s adventures since childhood (as this was my first viewing of the tale), I found this concert to be a delightful celebration of everything that makes the story so enduringly special – even for a 26 years old child!

At its heart, Paddington is a classic for a reason. Its universal themes of kindness, inclusivity, and the search for belonging resonate deeply with audiences of all ages. In today’s world, where the importance of embracing diversity and compassion is more crucial, Paddington’s message feels particularly poignant. The idea of finding a home away from home and navigating one’s place in a civilised society is explored with a thoughtful nuance that prompts us to ponder what it truly means to be part of such a society. Is it respecting some arbitrary rules or being empathetic with the ones around?

As an immigrant myself, Paddington’s journey struck a deeply personal chord. In a time marked by conflicts and waves of immigration, his story serves as a poignant reminder that with a little help and understanding, one can integrate into a new country and find acceptance among people who may seem different at first glance. At the end of the day, if a wild bear obsessed with marmalade can be embraced by the London community, so can everybody!

The concert brilliantly highlights the emotional depth of Paddington’s narrative, with a score that is nothing short of magnificent. The orchestra’s performance, delivered with empathy, delicacy, and precision, brings the beloved characters and their adventures to life in a way that is both captivating and heartwarming. The impeccable sound mixing further enhances the experience, ensuring that every note is heard with crystal clarity.

Watching Paddington in Concert was a truly immersive experience, one that made me appreciate the richness of the story in a whole new light. It reminded me of the importance of embracing kindness and empathy in a world that can often feel divided. I left the concert feeling uplifted and inspired, with a renewed appreciation for the enduring magic of Paddington’s world. If given the chance, I would gladly experience the movie again in this unique form, as it beautifully highlights the exceptional quality of the score, which may go unnoticed when viewing the film from the comfort of one’s home.

REVIEW: Skyfall – Film In Concert

Published on by Miles MorganLeave a comment

Rating: 5 out of 5.

With music reflective of the moment, a score as cool as 007 himself, the best place to watch Skyfall is the Albert Hall.

To celebrate 60 years of James Bond, the Royal Albert Hall hosted a charity concert in October showcasing the iconic music of Bond. To follow this up, they are giving a series of full in-concert screenings of recent Bond films, accompanied by the Royal Philharmonic Orchestra.

Last Friday, it was the turn of Skyfall in Concert, conducted by Anthony Gabriele, who showcased Thomas Newman’s BAFTA-winning score performed live in sync to the picture. Released in 2012, Skyfall is the franchise’s most successful film to date. Directed by Sam Mendes, it pits 007 against cyberterrorist and former MI6 agent Raoul Silva (Javier Bardem). From a thrilling chase across the rooftops of Istanbul to the violent underworld of Macau, Bond’s pursuit of Silva ultimately leads to the streets of London and the very heart of MI6 itself.

Mendes was a special guest and gave an introduction. He explained how he had directed Daniel Craig in 2002’s Road to Perdition, and when Craig was later mooted a possible James Bond, he didn’t imagine it working. But he ate his words when Craig showed the world what he could do with 2006’s Casino Royale. He also described how it was a slightly tipsy Craig who spontaneously offered him the directing job on Skyfall at a party they were both attending. Mendes’ pride in the film, and how it came together so magically, really shone through. He rounded his introduction up by reflecting on how every actor they wanted said yes, Dame Judi Dench said yes to M being killed off, and even the late Queen Elizabeth II got in on the Bond action that year by agreeing to jump out of a helicopter and parachute into the opening ceremony of the Summer Olympics!    

Seeing a new Bond film for the first time is always an experience. Even watching an old one curled up on the sofa with a glass of something chilled is a treat. So to watch the most successful one in the majestic surroundings of the Royal Albert Hall, accompanied by the crème de la crème of orchestras, was like an early Christmas present.    

Music is as inextricably linked to Bond as the martini, the exotic cars, and the beautiful women. It is a genre all on its own, guaranteed to make your heart beat faster and take your breath away.

James Bond producers Michael G. Wilson and Barbara Broccoli said: “Music has always played a vital role in the success of the 007 series. Over the sixty year history, we have been blessed with the extraordinary talents of legendary composers and artists who have created the most powerful and moving musical contributions to our 25 films.”

Conductor Anthony Gabriele presided over his orchestra with precision. At 2hrs 23 mins, the length of this film is no mean feat for an orchestra, and a conductor on his feet. Their efforts were deservedly met with a standing ovation at the end of the evening.     

The Royal Albert Hall has a long-running association with 007, having hosted the world premieres of Die Another Day, Skyfall, Spectre, and most recently No Time To Die. It was 20 years ago last Friday the late Queen Elizabeth II attended the world premiere of Die Another Day.

Lucy Noble, Artistic Director of the Royal Albert Hall, said: “The Hall has forged an indelible association with 007 over many years and we are delighted to help them celebrate.”

Bond and the Royal Albert Hall are as quintessentially British as each other. Given their intertwined history, it is surprising it has not yet featured in the series. Other iconic London landmarks have, including Buckingham Palace in Die Another Day, the Houses of Parliament and the O2 Arena in The World is Not Enough (back then the Millennium Dome) and the National Gallery in Skyfall. The Royal Albert Hall has private boxes, ideal for a silent but deadly battle between Bond and a villain, as a performance happens on stage. On the basement level there are dressing rooms, tunnels, and storerooms, befitting for Bond to dispose of a villain in, after a fatal clash. Waiters, cloakroom staff and other personnel wander around, perfect for an inconspicuous yet ruthless henchman to pose as whilst up to no good. If the above ever happens in a future Bond film, remember you heard it here first!

REVIEW: Harry Potter and The Half-Blood Prince in Concert

Published on by Tabitha JamesLeave a comment

Rating: 5 out of 5.

Breathing new life and excitement into the Harry Potter series, hearing the music life in accompaniment to the films is an experience not to forget quickly.

The Royal Philharmonic Concert Orchestra returns to the Royal Albert Hall with the sixth instalment of the Harry Potter Film Concert series. The conductor’s opening speech is met with cheers for the Gryffindors, Hufflepuffs and Ravenclaws and boos for the Slytherin (my cheers for my house were drowned out in hisses). The scene is set, we’re all Potterheads and we’re all here for the concert of the year.

The Friday performance was especially lucky to be blessed with (or perhaps we all took Felix Felicis) the attendance of the composer of this fantastic score, Nicholas Hooper. If this didn’t make the orchestra put their extra oomph into the music I don’t know what would have. Each note was hit with complete perfection and accompanied the film (only playing dialogue and sound effects in the background) perfectly. As my 8 year old cousin who served as my gallant date said ‘You forget they are there, but in the best way!’. And right he was, the orchestra blends into the background as we immerse ourselves in the dramatic plot and only every so often as you drag your eyes away from the screen do you remember this is all live and completely breathtaking.

The skill of the orchestra and accompanying choir is undeniable and nothing can beat hearing that iconic theme tune at the beginning live. Also several iconic tunes such as ‘Wizard Wheezes, the Weasley Stomp and Ron’s Victory’ were just uplifting in the Royal Albert Hall – the venue perfectly amplifying the music. If I didn’t think Hooper was a Weasley fan after hearing those three played live, and practically dedicated to the Weasley family, I couldn’t deny it now…

It was an absolutely spellbinding evening and a real treat to a lover of the Harry Potter series who is always looking for new ways to experience the world. I’ll be keeping a close eye out for their return with Part 1 and Part 2 of the Deathly Hallows.