While Horner took a fresh, retro approach to «The Rocketeer» in
tone as opposed to outrightly trying to sound like a score from the 40's, his brief, swashbuckling salute to the music of Hollywood's golden age shows just how wonderfully Horner
followed in that symphonically exuberant
tradition.
Formally, the film feels very much in the
tradition of latter - day Iranian new - wave humanism, but tempered with a slightly more detached
tone (Mortezai's dynamic but controlled camerawork — kudos to cinematographer Klemens Hufnagel — often favors behind - the - subject shots,
following Ramasan as he stomps through the scrubby forest / dumping ground near the flats, or crosses the busy, noisy playground to bring his sisters home).