In Contention

Tag: Colorblind

  • Listen to Overtone’s ‘Colorblind’ from ‘Invictus’

    Clint Eastwood and Matt Damon with OvertoneOn Wednesday we featured the original song “9,000 Days” from Clint Eastwood’s “Invictus” from South African boy band Overtone (featuring vocalist Yollandi Nortjie).  Today we’re happy to bring you the second track, “Colorblind.”

    Overtone was reportedly “talent-scouted” by Eastwood’s wife Dina when she attended the group’s tribute to Freddy Mercury.  Eastwood dug the melodies and asked for a few demos to be used in the film.  So on one hand, it’s nice that he’s giving a leg up to an up-and-coming group.

    The song is used in the film, quite suddenly, as the background music for a dramatic helicopter entrance by Morgan Freeman’s Nelson Mandela.  I say suddenly because the cue quite literally seems to come from nowhere and the scene would probably be better served without it.

    And that’s before we get to the song’s obvious downfall: lyrics and melody.  It sounds like some soft pop, radio-exhausted ballad, but the words hit everything so square on the nose that it’s almost embarrassing.  But that’s just my opinion.  Have a listen below and give us your thoughts.

    [audio:http://www.incontention.com/audio/colorblind.mp3]

  • Two original songs from ‘Invictus’ join the race

    Morgan Freeman in InvictusEven though trade reviews have popped up and there are enough little dutch boys around to seal off the steadily breaking dam, certain parties are still not permitted to discuss “Invictus” in a review capacity.  However, I would like to offer up some thoughts on two original songs from the film that should be added to that category’s on-going conversation in this space.

    “9,000 Days” and “Colorblind” are a pair of sentimental tracks peppered throughout the film.  Both songs, as well as most of the soundtrack, can be chalked up to the South Africa vocal group Overtone.  “9,000 Days,” using William Earnest Henley’s poem “Invictus” as a framing device, sounds curiously like Jamie Callum’s title track for “Gran Torino” last year.  It’s a breezy, jazzy tune that also features Yollandi Nortjie.

    “Colorblind,” meanwhile, from Overtone on their own, is a little more difficult to defend.  From the schlock, faux-emotive melody of the thing to the trite lyrics (which could probably be determined from the nail-on-the-head title), it’s a fairly miserable song.  And its usage in the film is swift, manipulative and frankly distracting.

    Suffice it to say, I don’t expect these tracks to play a major role in this year’s race for Best Original Song, but they’re worth mentioning in this robust year for the category regardless.