Imagine a murder mystery set in a bleak parish church, where the music doesn’t just accompany the story—it becomes a character in its own right. That’s the bold move composer Nathan Johnson made for Wake Up Dead Man: A Knives Out Mystery. In this third installment of Rian Johnson’s whodunit series, Johnson deliberately steered clear of the expected church organ tropes, even though the film’s eerie setting practically screams for them. Instead, he crafted a score that’s as sly and nuanced as Benoit Blanc’s detective work, prioritizing tonal themes over character-driven melodies. But here’s where it gets controversial: Johnson didn’t just want the music to complement the story—he wanted it to actively challenge the audience, mirroring the film’s central conflict between ugliness and beauty, darkness and light.
This isn’t your typical Knives Out score. While the first film leaned into the cozy woodsy vibes of New England and the second reveled in the excess of Billionaire Island, Wake Up Dead Man dives into something deeper. Johnson describes it as a ‘tug of war’ between opposing forces, a metaphor he ties to the film’s exploration of power, religion, and hypocrisy. ‘It’s like money and power in our world today,’ he told IndieWire. ‘How can something so pure be twisted into something so dark?’ That tension is the heartbeat of the score, and it’s achieved through unconventional techniques—like metric modulation, where conflicting rhythms create a sense of unease. It’s almost as if the music itself is gaslighting you, echoing the double-speak of the film’s power players. And this is the part most people miss: the score isn’t just background noise; it’s a silent manipulator, keeping you as off-balance as the idealistic Father Jud (Josh O’Connor) throughout the film’s twists and turns.
Even in the climactic showdown between Blanc, Jud, and the enigmatic ‘Chosen,’ Johnson’s music operates like an invisible hand, heightening emotion without stealing the spotlight. ‘We fine-tuned that moment to ensure it felt soft,’ Johnson explained. ‘Rian didn’t want us to overdo it—he wanted the moment to breathe.’ This restraint, Johnson believes, is what sets Wake Up Dead Man apart from its predecessors. While the earlier Knives Out films relied on playful, caper-like scores, this one adds a layer of deep empathy and emotional complexity. It’s a subtle dance, Johnson admits, one that requires the music to seamlessly shift gears every 30 seconds without overwhelming the audience.
But here’s the question: Does this approach make the score too subtle, or does it elevate the film to a new level of sophistication? Johnson’s gamble is clear—he’s not just scoring a movie; he’s inviting you to feel the hypocrisy, the unease, and the moral ambiguity at the heart of the story. Whether you agree or disagree, one thing’s certain: Wake Up Dead Man isn’t just a mystery—it’s a masterclass in how music can shape the way we experience cinema. Now streaming on Netflix, it’s a film that demands your attention—and your opinion. What do you think? Did Johnson’s unconventional score hit the mark, or did it leave you wanting more?
