, is his longtime partner, and he has scored all seven of her films, winning a 2002 Oscar for the Mexican-flavored music of “Frida.”
Goldenthal turns to jazzier sounds, notably a Django Reinhardt/”Hot Club of France”-style guitar for an early scene featuring Steinem’s ne’er-do-well father, a theme that returns later in melancholy piano form; and Ornette Coleman-style free-jazz saxophone as Steinem’s New York journalism career gets underway.
Taymor’s surreal, fantasy moments get the full Goldenthal treatment. “Julie wanted the audience to have fun,” he says, so the witch-and-tornado sequence features “a tarantella-like rhythm going into a super-fast change of tempo, [a piece] that runs the gamut from gypsy music to orchestral and circus music, all at once.”
He recorded the score in New York late in 2019, before the film’s mid-January Sundance debut and just before the pandemic. But both may have been infected with COVID-19 there. “After I left Sundance, when I got off the plane, I couldn’t breathe,” he recalls. “For a number of weeks in New York, I was struggling for air and I had a low fever.”
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