Blue Sky") is present here, despite not finding time in the film itself. Here, Brion's score meets Eternal Sunshine's oculophilia halfway, and fittingly comprises one of the film's most potent scenes.īy now I trust you've seen the trailers for Eternal Sunshine, and yes, the song that backs it (Electric Light Orchestra's "Mr. This seems to be the logical fate of most film scores, but in the case of Eternal Sunshine, Brion's insistence on certain themes popping in and out of his textures seems particularly appropriate, as the soundtrack's fluid matrix performatizes the cinematography's mind/body collapse: In the film, Brion's organi-synthgaze postlude "Phone Calls" plays after Joel decides not to try and save his first memory of Clementine, but just to enjoy it.
The value of listening to Brion's score by itself- with the exception of his thematically tongue-in-cheek "Strings That Tie to You"- is situated in the potency of its corresponding visual nostalgia. But with this balance comes a powerful dependence on Eternal Sunshine's visual elements. Jon Brion has written a perfectly ambient score: It's undistracting, yet contains interesting sounds and ideas for those who choose to be distracted by it. Charlie Kaufman has essentially written a film's film, which is fine- wonderful, in fact- but what storytelling role does Eternal Sunshine leave, then, for its soundtrack? Given its subject matter, Michel Gondry's new film, Eternal Sunshine of the Spotless Mind, has a particularly visual agenda, which makes great use of the medium's most important quality: its ability to collapse the distinction between linear and synchronic plot development.
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