Behemoth! — NYFF Review

There are multiple ways to interpret the title Behemoth!, the latest film from Michael Clayton (2007) director Tony Gilroy. On the surface, it references something within the story itself, but I’ll refrain from elaborating in order to keep this as spoiler-free as possible. The word behemoth comes from the Bible’s Book of Job and typically describes something massive or powerful, whether it’s a creature, person, or organization. It feels like a fitting word to describe an orchestra coming together to play a piece of music. You have all these individuals from all different walks of life, each playing their own instrument, yet once the music begins, it's as though they merge into one enormous entity, something larger than the sum of their parts. During the press conference at the New York Film Festival, Gilroy explained that when you sit in on a scoring session, you’ve got a huge group of people who don’t dress or act alike, but when the light comes on, they become “this organism instantly right in front of you.” Behemoth! is a love letter to film scores and the people who come together to compose them, and from a musical and technical standpoint, this might be Gilroy’s most ambitious film to date.