Mary Magdalene (soundtrack)

Jóhann Jóhannsson composed the score for Mary Magdalene in collaboration with cellist Hildur Guðnadóttir, whom she shared a professional working relationship, having collaborated on several studio albums and films with the former: Prisoners (2013) and Sicario (2015).^[1] The duo began writing the score during late 2017 and had planned to record in October. However, the eventual recording happened during January 2018.^[2] They brainstormed on finding several things on expressing and writing the music, which led to a prolonged conversation.^[3] According to Davis, Guðnadóttir's involvement helped in capturing Mary's voice, where "she understood her journey and found both its truth and beauty at the same time" while Jóhannsson brought the otherworldly qualities, and "As we got closer to truth and closer to God, I wanted the music to feel like we were going into space and taking us into another realm."^[4] Jóhannsson and Guðnadóttir recorded at the AIR Studios in London.^[2]

The film was dedicated to Jóhannsson, who died on 9 February 2018, prior to the release, making this as one of his last film scores alongside Mandy.^[5][6] Milan Records released the soundtrack on 30 March 2018.^[7]

Pete Simons of Synchrotones stated "despite its relative simplicity [the album] is incredibly powerful and full of hope."^[8] Anže Grčar of Movie Music UK noted "[Mary Magdalene] is somehow both a tender farewell letter to Jóhannsson and a welcoming embrace to Guðnadóttir, containing that lively spark of substance that made Jóhannsson into what he is today and what is about to propel Guðnadóttir into a long overdue mainstream spotlight."^[9] Justin Chang of Los Angeles Times called it as "an intensely lush and stirring score".^[10] Stephen Dalton of The Hollywood Reporter summarized "Striking a poignant note, quite literally, the film's haunting electro-orchestral score marks the final screen credit for composer Johan Johansson, who died this month, here working in tandem with fellow Icelander Hildur Gudnadottir."^[11] Guy Lodge of Variety wrote "the swelling, swooning strings of Hildur Guðnadóttir and Jóhann Jóhannsson's unreservedly vast score [...] heightens the hair-tingling effect of it all."^[12]

Mike McCahill of IndieWire described it as a "typically searching final score" that aids the film.^[13] Fionnuala Halligan of Screen International wrote "Music by Hildur Gudnadóttir and Jóhann Jóhannsson – who passed away recently – leans on the Psalms and heavenly strings and can weigh quite heavily on the film, tipping it over into Enya territory."^[14] Barry Hertz of The Globe and Mail wrote "Johann Johannsson's comically overbearing score is just interesting enough to justify the entire project".^[15]

Credits adapted from liner notes^[16]