Coppola’s “The Dialog” is the good paranoid thriller he made in between “The Godfather” and “The Godfather Half II.” Creatively, he was on fireplace. From shot composition to casting to design to music, he knew exactly what these movies required.
Each component of “The Dialog” is extraordinary, however David Shire’s nerve-jangling, piano-heavy rating (interspersed with some jazzy cues) goes a good distance towards setting the viewer on edge. The deeper Gene Hackman’s surveillance skilled Harry Caul plunges right into a thriller of his personal making, the tighter your jaw clenches.
I will confess that I do not hear a number of Shire’s “The Dialog” in Beltrami’s “Logan” theme. The instrumentation — piano, guitar, drums and harmonica — seems like a melancholy mixture of Ennio Morricone and John Carpenter. However foregrounding the piano on a superhero rating is extremely uncommon, so if “The Dialog” was Mangold’s start line (which he claimed throughout a live-tweet viewing of “Logan” in 2000) when discussing the music with Beltrami (who additionally scored the director’s “3:10 to Yuma,” “The Wolverine,” and “Ford v Ferrari”), then that is great. The result’s all that issues, and “Logan” is likely to be Beltrami’s most interesting composition.