In contrast to the “modest debut” of the film by Disney Charm, the news agencies highlight the revival of the film’s soundtrack, inspired by the sounds of vallenato, champeta, mapalé and other rhythms that make Colombia proud.
As one more example of the strength of Colombian rhythms and the power of its artists -who always have a prominent place in the nominations of different music awards– the soundtrack of Charm, headed by an American from a Puerto Rican family Lin-Manuel Miranda (composer of the lyrics and director of the entire project), reached number one on the Billboard 200 list.
It ousted one of the queens of these sales lists, nothing more than the British Adele, whose album 30 seemed indethronable in the first place.
Incidentally, he demonstrated once again that one thing can be the box office in movie theaters (affected by the pandemic) and another very different thing can be the reproductions of streaming, since on Disney+, the film inspired by the color and diversity of Colombia became the most viewed on the platform during the recent Christmas.
Thus, the soundtrack is undeniable, it seems to have a life and magic of its own. He also recently won the golden-globe to best soundtrack (in addition to the best animated film). And although the visible face is Miranda, it should be remembered that many Colombian interpreters participated in it and their names appear in the credits, which is not common in Disney films.
It is almost expected that this good streak will take the music to the Oscar whose nominations will be known in February. This, despite We Don’t Talk About Bruno (Bruno is not mentioned), seems to have stolen the show in many cases.
(It may interest you: How close is charm to reaching the Oscar award?)
In a recent interview with EL TIEMPO, Lin-Manuel Miranda (behind the successes of hamilton, on Broadway, as well as the music of the tapes In The Heights Y Moana), recounted how the work went to make this important soundtrack.
The first thing Miranda said was: “Never in my life had I heard so many vallenatos.” In fact, the musician did the entire research task, not just musically. Theirs was an immersion in Colombian culture, passing through cities like Bogotá and Cartagena, but also through Palenque and Barichara, among other places.
Gastronomy, culture, crafts, everything served as inspiration and also the music of Carlos Vives. In the Colombian adventure he accompanied Germain Franco (who previously worked on Coco and in this film made the incidental music) and the objective was to tell the story of the Madrigals in eight songs that bring together traditional sounds and pop that gave them a universal touch to reach the rest of the planet.
The resulting songs were: The Family Madrigal (the one that presents all the characters that make up a family in which each one has a special power, except Mirabel, the protagonist), Waiting on a Miracle, Surface Pressure, We Don’t Talk About Bruno, All of You, What Else Can I Do?, Dos Orugitas Y Colombia, my charm.
This is how ‘The Family Madrigal’ was made
“I had to find the rhythm of each character and how it relates to the family,” he said of the first song Miranda wrote: The Family Madrigal.
With the other songs, Miranda said, there was teamwork involving writers, animators, directors and artists.
“Colombia, my charm he was inspired by the rhythms of Carlos Vives -Miranda said- and his ideas after hearing a thousand vallenatos. I wrote it as one of Vives’ songs, so afterward, the only option was to contact him to say: You have to sing this. When he recorded it, the song reached another level of authenticity.”
The magic of ‘We Don’t Talk About Bruno’
Carolina Gaitán, Maurio Castillo, Adassa Rhenzy Feliz, Diane Guerrero and Stephanie Beatriz perform We Don’t Talk About Bruno, defined by its author as a bolero. “It’s the opportunity to hear about a lot of characters that don’t have their own song, plus it’s a song that has choreography too, the characters are dancing to this song in a particular way, so that meant going a little further with the animation and the music, working hand in hand. I love the choreography, when they start moving their hips.”
The story behind ‘Two little caterpillars’
The intention was that this song – today a candidate for the Oscar of the academy – would sound like a lullaby. The result was a ballad. “I looked for the metaphor of nature to achieve the meaning we wanted,” said Miranda. “It is the only moment in which there is not a character interpreting the song, which Sebastián Yatra does in a beautiful way, but rather it is a subject that one is addressing. of the darkest and hardest moments of the family… the contrast that this song gives is so beautiful, because it accompanies an ugly and violent moment. It makes you feel something that goes beyond. It is the magic that you achieve after a beautiful collaboration with many artists.
two caterpillars He is among the 15 Oscar nominees. Among its competitors are Be Alive, by Beyoncé, from the soundtrack of king richard; Guns Go Band, from the movie The Harder They Falhe; the interpretation of just look up, by Ariana Grande (in Don’t look up) and Billie Eilish’s in no time to die, among other.