127 Hours - 2010

127 Hours: Music from the Motion Picture is the soundtrack to Danny Boyle's 2010 film of the same name. It was composed by Academy Award Winner A. R. Rahman, Boyle's previous collaborator on Slumdog Millionaire. The score, centred on guitar, was recorded mainly in London and was completed in three weeks.[2] The soundtrack was released digitally on 2 November and physically on 22 November, by Interscope Records and Fox Music.[3] The score is briefly orchestral and the song's main theme, "If I Rise" features Rahman playing the Harpejji.[4]

The soundtrack album includes original score and the theme song composed by Rahman, the tracks "Never Hear Surf Music Again" by Free Blood, "Lovely Day" by Bill Withers, Frédéric Chopin's Nocturne No.2 in E flat, Op.9 No.2, "Ça plane pour moi" by Plastic Bertrand, "If You Love Me" by Esther Phillips, and "Festival" by Sigur Rós.[5] The original theme song of the film, "If I Rise", is written by A. R. Rahman (music), Dido and Rollo Armstrong (lyrics) and performed by Dido along with Rahman. It was featured in the climax scene of the film.[6]

The film's subject Aron Ralston's favourite band, Phish, is mentioned in the film. During production, Boyle asked Ralston how Phish lyrics could be included in the film. Ralston sings lines from the Phish song "Sleeping Monkey" when swimming in one of the early scenes of the movie.[7] But the soundtrack album did not feature this song. Another song "The Funeral" from Band of Horses is not in the soundtrack album, but is used in the end of the trailer.

Rahman collaborated with Danny Boyle for the second time. Their previous association, Slumdog Millionaire was a great critical and commercial success to Rahman, who was described by Time magazine as India's most prominent movie songwriter, in 2005.[8] After the scripting finished, Boyle handed over the script to Rahman, who says when he first got the script and the screenplay, even before the shoot, some kind of sounds came into his mind and he put some stuff down and sent it to Boyle when he was cutting the movie.[2] Rahman wanted the score to feel very much like something the cinematic Ralston might be listening to, a mix of heavily layered acoustic and electric guitars, brightened with digital effects.[9] Rahman says that he was able to complete the score within a short period of three to four weeks.[2]

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