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Soundtrack & Compilation Reviews
(November - Decemeber 2005)
All CD reviews are listed alphabetically and are the opinions of Roger Hall or Steven Kennedy.
Some releases are given the designation of "CD of Special Merit" for their outstanding contibution to film music production.
Also, there is one CD that is singled out when deserving of: "Editor's Choice - Best of the Month."
If you have any comments or questions about any review, write to:
Please keep FMR up and running by ordering a copy of A Guide to Film Music or order something from Amazon.com (see Bookshelf Search below)
Scroll down this page to read all the CD reviews.
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A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)
This guide includes an accompanying FREE CDR of film music examples.
The film music guide includes these items:
*A timeline of film music highlights from 1926 to 2001
*A chapter on suggestions for listening to film music
*A complete list of Academy Award film music from 1934 to 2000
*A complete list of the Sammy Movie Music Awards from 1988 to 2001
*Top 100 Scores of the 20th Century
*Comments on Film Music:
- Exclusive interviews with two composers (Aaron Copland and Virgil Thomson)
- The Composer as Commentator (Bernard Herrmann, David Raksin, Dimitri Tiomkin)
- The Composer as Critic (Elmer Bernstein)
- The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini)
- The Movie Critic and Historian (David Thomson and Tony Thomas)
- An extensive bibliography and discography
Throughout the guide are many illustrations of composer autographs, including:
Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa, Max Steiner , Dimitri Tiomkin, John Williams and others.
There are also songwriter autographs as well, such as:
Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.
The title page of A Guide to Film Music has a rare page from the end credits of E.T., boldly signed by John Williams.
Praise from distinguished film composers!
"Thank you for the copy of your film music book. Congratulations and best wishes for success in your future contributions to the film music literature"-- John Williams, film composer and conductor
"I do feel your book is done in a most interesting way. It affords a quick overview of what has not become a very, very broad field. Congratulations!" -- Elmer Bernstein, film composer and conductor
"Your film music guide should be available to anyone interested in the Golden Age and beyond. I was so happy that KING KONG made your all-time list" -- John Morgan, film composer and score restorer.
Order your copy of this limited edition guide before it sells out.
To order A Guide to Film Music with a Free CDR, click on this link:
Music Titles from PineTree Press
The titles are chosen to cover a broad range of commercial, promotional and vintage soundtracks.
No bootleg CDs are reviewed.
The comments and ratings are based on the whole CD package: recorded music, booklet notes and art design.
Ratings:
***** (Superlative - Highest Recommendation)
****1/2 (Outstanding - Highly Recommended)
**** (Exceptional - Especially Worthwhile)
***1/2 (Very Good - Better Than Average)
*** (Good - Okay)
**1/2 (Fair - Nothing Special)
** (Mediocre - Barely Passable)
* (Poor - Save Your Money)
Each month soundtracks may be selected for either Editor's Choice or Special Merit.
These soundtracks are chosen on the date of the review, and not necessarily at the end of the month.
They are the CDs worthy of special praise for their overall production.
These are the headings:
![[Image]](pict319.jpg){kind=small} Editor's Choice for Best of the Month |
![[Image]](pict327.jpg){kind=small} CD Release of Special
Merit |
Review Rundown::
To order any of the CDs listed below, just click on the links.
To read the reviews scroll down this page.
The reviews are listed in alphabetical order under two headings:
Soundtracks
Compilations and Musicals
[Click on the links to order from Amazon]
Soundtracks:
THE DUKES OF HAZZARD -- Nathan Barr - **1/2
ESCAPE FROM NEW YORK -- John Carpenter - ****
HARRY POTTER AND THE GOBLET OF FIRE -- Patrick Doyle - ****1/2
JARHEAD -- Thomas Newman - ***1/2
KING KONG -- James Newton Howard - ****
KISS KISS BANG BANG -- John Ottman - ****
THE LEGEND OF ZORRO -- James Horner - ***1/2
MARCH OF THE PENGUINS -- Alex Wurman - ***1/2
MEMOIRS OF A GEISHA -- John Williams - ***** (2 reviews) [Editor's Choirce for December]
PRIDE AND PREJUDICE -- Dario Marianelli - *****
SYRIANA -- Alexandre Desplat - ****
VALIANT -- George Fenton - ****
Compilations:
BERNARDO BONEZZI—ALMODOVAR EARLY FILMS - ****
Bollywood: An Anthology of Songs from Popular Indian Cinema - ****
THE CHRONICLES OF NARNIA - The Television Music of Geoffrey Burgon - ****
The Film Music of Erich Wolfgang Korngold -- The BBC Philharmonic conducted by Rumon Gamba - *****
THE PRODUCERS - music and lyrics by Mel Brooks - *****/***1/2 (2 reviews)
The Ultimated Movie Music Collection (4 CDs) -- Cincinnati Pops Orchestra conducted by Erich Kunzel - **** [Special Merit]
Soundtrack Reviews
THE DUKES OF HAZZARD (2005)
Music composed by Nathan Barr.
17 Tracks (Playing Time = 35:10)
Album produced by Nathan Barr and Peter Cobbin. Score recorded and mixed by Peter Cobbin at Ocean Way B, Hollywood, CA. Music editing by Brian Richards. Art design by Mark Banning.
Composer promo CD
Rating: **1/2
Two years ago, I had a chance to hear Nathan Barr’s work on the score to CABIN FEVER. There he was called in to provide more eclectic styled music to complement Angelo Badalamenti’s underscore. "Eclectic" seems to be the word one finds attached to Barr’s name. That can be good thing in some circles, but sometimes in Hollywood it is not the best thing one can say about a composer. Barr is one of the several Media Ventures composers who broke away early from the pack and set off in a more personal compositional track. That will come as a welcome surprise for many.
For THE DUKES OF HAZZARD Barr has assembled a little ensemble that can adeptly play a little bluegrass, a little country blues, and even a little rock. The tracks come as more personal underscoring with a nice folksy feel that belies its subject matter. Barr provides several guitar tracks to the music here and again illustrates his fine performance abilities. What I found unique was that he managed to update the sound of a seventies funk and blues score moving them at times into some pure rock ‘n roll territory. "Stealing the Safe" is an excellent example of these two styles standing alongside one another. It gives the effect that you are listening to some kind of central jam improvisational section of a country tune. While that works well in bits and pieces, it works less well when pulled altogether in a single sitting even with the brief playing time. There are a few thematic ideas that recur to provide some connective tissue to the score. The biggest problem is that the music seems to be written in 20 to 40 second statements that end in simple cadences or guitar effects. It comes across more like excerpts from a video game soundtrack. This is an inherent problem with the style chosen than any inherent compositional issue. In a longer track, such as "Donuts," it is a little more obvious than in briefer ones. It no doubt served the film and its accompanying songtrack as well. The most enjoyable track is the little hoedown, "Hazzard County Picnic," featuring some great fiddle playing. The disc includes music not heard in the film appearing as two "bonus" tracks.
This disc will appeal for those who enjoy a more popular feel to their underscoring. While it inhabits a different soundworld than Elfman’s score for MIDNIGHT RUN (1988), the idea is essentially the same.
This composer promo appears to be a by-product of the La-La Land crew with some similar design and artwork.
The "official" release was a marketed group of songs licensed for the film. It is unclear just how you would track down a copy of this score. But if you are interested, perhaps contacting the composer at www.nathanbarr.com will send you on the right path.
--Steven A. Kennedy, 15 November 2005
28 Tracks (Playing Time = 57:33)
Music composed and performed by John Carpenter in association with Alan Howarth.
Recording, editing, sequencing, and synthesizer programming by Alan Howarth at Pi West Studio. Album reissue produced by Alan Howarth and Ford A. Thaxton. Mixed at Dimension Audio, North Hollywood, CA. Masterd by James Nelson at Digital Outland, Tacoma, WA. Analogue to digital transfers by Mick Stern at Debney Productions. Mastered for CD by Gareth Williams, SRT, St. Ives, Cambridge. Art direction by Colin Parker.
Silva Screen 3016
Rating: ****
John Carpenter’s 1981 score for his science fiction classic ESCAPE FROM NEW YORK gets an updated sonic treatment and an expanded release here by Silva Screen. These are the original tracks laid down in Howarth’s home studio. Those interested in electronically reproduced sounds will know that Carpenter’s film music was really at the edge for this kind of underscoring that had reached a new level of recognition that same year with Vangelis’ Oscar winning score for CHARIOTS OF FIRE.
It is fascinating to hear the two scores together if you have the chance. It will point out subtle difference in compositional approaches that you may have overlooked. Personally, it was scores like these they made it seem that the death knell had been sounded for the orchestral score. There were moments in the early 1980s where it certainly seemed that the kind of music those of us heard in films like STAR WARS was being replaced by popular songs and electronic "noise." It was a period when many claimed that live musicians would no longer be needed with the increased ability of synthesizer programming. Of course, we now know that this was a little premature to say the least. It would take another decade for composers to work towards integrating the new electronic media and discovering them as yet another important palette from which they could draw. Carpenter inherited this compositional approach from the likes of Jerry Goldsmith and Richard Band. The popularity of his films was aided by the advent of cable television and home video helped cement this sound for a new generation of film fans in the 1980s.
Carpenter’s musical style, made infamous in his earlier score for HALLOWEEN is on full display here in brief tracks that help to create an underlying tension. The same motivic and thematic approach can be discerned along with simple ostinato drones. There is not a tremendous amount of intricate writing here. There are plenty of times when the 1980s pop-rock sound may make you smile as well. But what makes Carpenter’s music important to film music history is that his musical sound is valid within the context of his films drawing no more or less attention to itself than a fully orchestral score would create. "Across the Roof" bears some resemblance to the musical structure of Carpenter’s theme from "Halloween"—at least in its rhythmic piano ostinato in the upper register. But what makes the score interesting to listen to is the combination of non-traditional sounds and keyboard lines. The longer tracks here reveal that complexity is not the primary focus of the music. Lines come and go distinctly from one another highlighting tension or action sequences similarly from one section of the film to the next.
Distributed throughout the disc are several dialogue sequences from the film that help place the surrounding cues and are not terribly distracting. Note that some score segments begin under dialogue before segueing into the music only cue. About eighteen minutes of music makes its appearance here on CD for the first time. The music has also been returned to its film version and two cues for deleted sequences from the film are also added to pad out this release. The sound is a tremendous asset to hearing this music. Also included is a "realization" of Debussy’s "Sunken Cathedral."
The new editing may be an issue for those familiar with earlier releases of this score. The bass seems a little weak in places though the overall sound is well-equalized and the "problem" can be corrected with a minor adjustment of your own equipment. Some will no doubt find much to quibble about. However, this is one of the seminal releases of electronic film music and an important contribution to the genre. Howarth’s comments about the creation of the score and his editing approach are interesting and helpful in explaining the thrust of this release.
Of course, the release will not win new converts to Carpenter’s music, but for the many who have admired this film and enjoy the style found here should be most appreciative. A fine job all around!
--Steven A. Kennedy, 1 November 2005.
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
HARRY POTTER AND THE GOBLET OF FIRE (2005)
21 Tracks (Playing Time = 75:59)
Music composed by Patrick Doyle.
Orchestrations by Patrick Doyle, James Shearman, and Lawrence Ashmore. Performed by the London Symphony Orchestra conducted by James Shearman. "Underwater Secrets" vocal by Abigail Doyle. Music produced by Patrick Doyle and Maggie Rodford. Score recorded at Air Lyndhurst Studios and Air Edel Studios and mixed at Air Lyndhurst Studios. Music recorded and mixed by Nick Wollage. Album mastered by Andy Walter at Abbey Road Studios. "Hedwig’s Theme" by John Williams (used in "The Story Continues," and "Foreign Visitors Arrive"). "Do the Hippogriff" written by Jarvis Cocker and Jason Buckle; "This is the Night," and "Magic Works" written by Jarvis Cocker. Songs performed by Jason Buckle, Steve Claydon, Jarvis Cocker, Jonny Greenwood, Steve Mackey, and Phil Selway. Engineered by Ger McDonnell. Art direction and design by Mathieu Bitton.
Warner Sunset/Warner Bros 49631-2
Rating: ****1/2
Among many of the new scores arriving this Fall, Doyle’s contribution is among those most anticipated. And yet, with strong scores and lyrical writing that has become increasingly more interesting with each passing score, Doyle would seem to be the perfect choice to come into this fourth film of the series. The thematic connections cemented into the first three films are not present on the CD presentation apart from brief appearances of "Hedwig’s Theme." That may be a problem for some, but taken on its own, this makes for a perfect continuation of the musical sound of the series.
From track one, "The Story Continues," it is already obvious that a new musical voice is in place. The darker quality of the music has a kind of Elfman-esque sound a la BATMAN and the qualities of Doyle’s own FRANKENSTEIN. It makes for an interesting sound when Hedwig’s theme appears tinged with darkness. Later it gets transformed into a minor mode before the music begins to soar in "Foreign Visitors Arrive." The nice and safe lyricism that was a greater part of the Williams’ scores is replaced with more bite and dissonance. In "Quidditch World Cup," one is reminded a bit of Peter Maxwell Davies’ "Orkney Wedding With Sunrise" as the opening dance like theme draws us in. But soon all gets dark again. There may be more CGI on screen to compete with because Doyle pulls out all the stops for this score. It is reminiscent of VAN HELSING’s incessant orchestral score. But the sound maintains Doyle’s unique personal stamp.
It is not all bang and bluster. Quieter moments are as poignant as other similar moments in Doyle’s scores, here with a sound that parallels Shore’s music for THE LORD OF THE RINGS. The central portion of the disc though is like a set of character dances. In "Neville’s Waltz" we are in the kind of world Doyle visits for his light-hearted Shakespeare scores. The nice lilt and full orchestra is a different musical world than the waltz that appeared in THE PRISONER OF AZKABAN. It provides a little light that breaks through in the central portion of the disc. Equally gorgeous is "Harry in Winter" which features a wonderfully lyrical melodic idea magically scored and one of the finer highlights of the disc. "Potter Waltz" carries this theme a little further like some delightful Tchaikovskian ballet. "Hogwarts’ March" is a British brass band piece that is almost out of character from the surrounding score material. It will no doubt make more sense once the film has been seen, but it stands out as an anomaly to the rest of the score. "Underwater Secrets" is a little habanera that gives way to an almost chantlike moment with ghostly choral sounds sometimes in open intervals sometimes in octaves with the solo vocal by Abigail Doyle. It serves to transition us briefly back to the darker music which will follow in "The Black Lake."
The new thematic ideas are oftentimes more subtle and communicated as much through their orchestration as through their melodic contours. This can be heard for the theme introduced in "The Goblet of Fire." The melody has a stately quality reminiscent of Walton and cast in newer language. And throughout each new motif is handled so well that even in the midst of the thickest texture individual lines cut through like dragon’s claws. The music for Voldemort is among the better character tracks underlying both the terror and bitterness of the character while also providing some small bit of sympathy for him perhaps even humanizing him a bit which serves to make him all the more frightening.
Biting brass and percussion are the primary sounds of this new score. With the full London Symphony to perform this music, it makes for a remarkable listening experience. As the year comes to an end with the music, there is a deeper more maturing sound to the music that should immediately capture the imagery on screen. If nothing else, this is definitely one of the best performed and recorded Doyle scores. One odd thing is that in that there are a few times in the midst of a track where a cue pauses briefly before moving along. It is an interesting editing choice but not a disconcerting one. Doyle paints in longer brushstrokes throughout shaping many of these cues with long arcs.
An unfortunate inclusion, begins with the final three tracks which will appeal to a younger crowd coming from a dance sequence. "Do the Hippogrif" has all the subtlety of a Billy Idol rock song, opening with the line "Are you ready for some real music?" I was still ready after it was complete. "This is the Night" is equally annoying. "Magic Works" improves a little better as a slowed down ballad with orchestrations by Doyle. It is an odd way to end the disc. The songs come from bandleader Jarvis Cocker of the group Pulp. The timing of the disc is generous so we can give thanks that this could have been a disc of "inspired by" drech with a couple of Doyle’s score cues. On the other hand, the music reflects the movement into young adulthood of the main characters.
I loved Doyle’s exploration of Korngold’s style in SECONDHAND LIONS. This score is essentially the antithesis to that one. It is dark everwhere with great dramatic gestures underlining the danger and seriousness of this latest Harry Potter film where LIONS plays with the magic of adventure and storytelling.
This is one of his best achievements yet and should prove to be one of the better scores in the series.
--Steven A. Kennedy, 21 November 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
25 Tracks (Playing Time = 61:21)
Music composed and conducted by Thomas Newman.
Orchestrations by Thomas Pasatieri. Album produced by Thomas Newman and Bill Bernstein. Also includes: "Don’t Worry Be Happy," Bobby McFerrin; "Bang a Gong," T-Rex; "O.P.P.," Naughty by Nature; "Fight the Power," Public Enemy; and "Soldier’s Things," Tom Waits. Recorded and mixed by Tommy Vicari at Signet Sound Studios and Sony Music Studios, NYC. Orchestra recorded by Armin Steiner at the Newman Scoring Stage, 20th Century Fox. Album mastered by Joe Gastwirt at Joe Gastwirt Mastering. Design by Frank Famularo.
Decca B0005983-02
Rating: ***1/2
Perhaps in the future Sam Mendes’ take on the first Gulf War, JARHEAD, will find an audience. Like the more serious BLACK HAWK DOWN (2001), this film received some great critical notice in the fall and then fell away rather quickly. Even sporting stars like Oscar winner Jamie Fox, and Jake Gyllenhall was not enough. This is Thomas Newman’s third score for Mendes (the others being the Oscar-nominated scores for AMERICAN BEAUTY [1999] and ROAD TO PERDITION [2002]), and many are predicting it will make it to the short list for Oscar picks this year.
The opening track, "Welcome to the Suck," is a modern rock jam track with some added unusual atmospheric overlays. As the disc continues, Newman takes the rock instruments and winds them into an intricate score mixing into his classic AMERICAN BEAUTY type sound. It is in some ways a blend rock and minimalist techniques. Some motifs, one which sounds like a looped flute sound, become layered into the score creating an ever increasingly complex polyphony. These are set apart from Isham-esque atmospheric cues (like "Mirage Bedouin," or "8 Men 5 Camels") as well as some ethnic tracks, like "No Standard Solution," that blend hand drumming with electric guitars and manipulated sounds. Overall it is rather an odd mixture of sounds pulling mostly from contemporary popular music which may fit well the rather gritty feel of military life in the desert. "Permission to Fire," one of the longest score tracks on the album at nearly five minutes, does what many of the climactic tracks in other Newman dramatic score releases managed. It combines most of the musical ideas with some glimpses of light harmonically to provide a brief moment of reflection.
JARHEAD is pretty rough listening many times and some will find much to pick apart in this score which really explores some unusual territory for Newman and must be amongst the most eclectic score releases he has created. There are many contemporary composing techniques on display including sampled vocals used like a looped electronic sound, acoustic drumming that creates rhythmic tension while intense electric guitar sounds, and many pure atmospheric segments, some which are layered together. Dissonance is created both as a harmonic device and as a linear one as various threads and motifs weave themselves together or collide into one another.
This score presents an almost antithetical approach to scoring from the one Newman took in this year’s CINDERELLA MAN. It is not the kind of thing that sells albums, which may explain the inclusion of the pop songs. Some of the score tracks feel like they could be dialed in or over these songs as well, and definitely lay well alongside them. Newman fans of scores like THE SHAWSHANK REDEMPTION (1994) will not find the kind of cathartic release that builds throughout that disc even when the orchestral sounds appear. The score is really more for fans of the quirkier side of Newman’s output.
JARHEAD is a score that masterfully integrates popular rock styles with Newman’s general scoring technique in films like AMERICAN BUFFALO (1996) and AMERICAN BEAUTY. The latter was pretty tame by this score’s standards. While it may work wonders in the film, on CD JARHEAD is a complex score that grabs you buy the ears and forces you to enter into its soundworld. The journey may not be one most will want to take but for those patient enough to enter into it, there will be many rewards.
The licensed songs for the album are distributed so as to break the score material into four sections. Some score tracks merge gradually into one another to create longer seamless passages. Note also that the album unfortunately comes with a "Parental Advisory" label to cover some of the obscene lyrics in the attached songs.
--Steven A. Kennedy, 12 December 2005.
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
KING KONG (2005)
21 Tracks (Playing Time = 74:42)
Music composed by James Newton Howard. Produced by James Newton Howard and Jim Weidman. Recorded by Joel Iwataki and Alan Meyerson. Additional recording by James T. Hill. Mixed by Alan Meyerson. Supervising Music Editor: Jim Weidman. Score conducted by Pete Anthony, Mike Nowak, Bruce Babcock. Orchestrators: Pete Anthony, Pat Russ, Brad Dechter, Jon Kull, Bruce Babcock, Frank Bennett, Conrad Pope. Boy Soloist: Ben Inman. Additional vocals: Liz Constantine. Ethnic Winds: Chris Bleth, Pedro Eustache. Ambient Music Design: Mel Wesson. Additional Music by Blake Neely and Chris P. Bacon. Score recorded at Sony Studios, Todd-AO Studios, Fox Scoring Stage, O'Henry Sound Studios, Cow on the Wall Studios. Score mixed at Todd-AO West. Mastered by Erik Larson at Universal Mastering Studios West.
Decca B0005715-02
Rating: ****
Well after all the hoopla...it's finally here! The much anticipated KING KONG remake has been released. At three hours running time it's over an hour longer than the 1933 original. Let's first consider the film.
Caution...spoilers ahead...
The latest KING KONG is a throwback to the 1933 version at least in part. The effects are spectacular indeed, especially those for KONG himself. But the dialogue, much of it taken from the 1933 original, sounds forced and flabby.
Jack Black plays Carl Denham as if he's a bug-eyed boob and he speaks his lines with little emotional range. He turns in one of the worst acting performances of the year. Adrien Brody as Jack Driscoll isn't much better and he's not believable as a brave action hero. Only Naomi Watts as Ann Darrow plays her part with the right amount of emotional characterization and she makes a lovely addition to the film. But she is required to stare wide-eyed at the giant ape far too many times.
But then KONG is the real star of this film and he (brilliantly portrayed by Andy Serkis) actually shows more emotional range than most of the cast. Some of the scenes are just plain laughable. For example, the opening montage in the vaudeville show and the New York scenes look so superficial and go on far too long.
The scenes on Skull Island are mostly a freak show. The creepy looking natives are so slimey they look like they could eat the entire crew for breakfast! The dinosaurs and disgustting looking insects are also overdone and the CGI effects are not very convincing. More of them doesn't make them better either. This is surprising considering how much was spent on special effects. The effects were done more convincingly over a decade ago in JURASSIC PARK. But the effects with KONG and Ann Darrow work much better, such as the touching sunset scene.
The climax of this story is atop the Empire State Building and unfortunately it's the biggest disappointment of all. Ann Darrow climbs up to the very top and stands there in her high heels...1,000 feet above the ground. Is that believable even in a fantasy film? No! Furthermore, KONG just slips away to his doom with little emotional impact. The music here is very good but nothing compared to the unforgettable heartbreaking finale of 1933 which makes you feel sorry for KONG. In the remake it just doesn't have the same effect.
Has does James Newton Howard's score compare with Max Steiner's 1933 original or the one by John Barry for the 1976 KONG? Before answering that question, let me discuss this new KONG score first.
This has been a troubled soundtrack. It still has not been fully explained why Howard Shore was suddenly let go after had completed about 3/4 of his film score. Was it politics or difference of opinion with director Peter Jackson? This will continue to be a topic of speculation for some time to come. But the fact that James Newton Howard could step up and complete his score in a matter of about five weeks is quite an impressive achievement by itself. Actually Shore does make an appearance conducting the theater orchestra and the music that's heard is Max Steiner's but the excerpts from his score are poorly edited in this scene. Why was Shore included in the film after being fired? Was it guilt or a lack of time to reshoot the scene? Hopefully Shore received extra payment for his screen appearance. That scene is also badly presented with the audience reactions very awkward and overly rehearsed and the dancers on stage looking just plain silly. It's actually campier than the Jungle Dance from the 1933 original.
I'm a big fan of James Newton Howard's film music and selected his score for THE VILLAGE as the Sammy Award of 2004. Yet his latest score is quite different from that beautiful score.
KING KONG is big, bold and brassy. Yet the quieter moments come off sounding best. This is evident on the second track, "A Fateful Meeting" (4:16), that presents the essential emotional core of this score. What I'd call a sighing motive in the strings is heard briefly on this track, and there's prominent use made of piano, woodwinds and strings. They are used rather than the brass and horns used in the action scenes. Another key cue is track 11, "Beautiful" (4:08), with a lovely subdued section for harp, oboe, piano and strings.
A lot of the action music is wasted in the film because it can't be heard under the loud sound effects. Jackson has said he's a huge fan of the 1933 KONG and yet he fails to realize that when the action scenes take place on Skull Island there isn't any need for music playing underneath. This is demonstrated when KONG fights the T-Rex with the still impressive Willis O'Brien stop-motion animation in the 1933 KONG.
For a film production with so money involved I found the new KONG to be a disappointment. I didn't go in wanting to hate it either. Yet it seems another Jackson film, like the LORD OF THE RINGS films, with too many action scenes and wiz-bang effects winning out over any genuine emotion.
I fault Peter Jackson for waiting so long to change the film score and giving so little time to complete it. The result sounds rushed into production. Just look at the small army of musicians and technicians involved in this massive effort to get it done on time.
The final five tracks, "Beauty Killed the Beast I-V," provide an exciting conclusion to the story but they don't provide enough emotional intensity that this classic fantasy tale needs. The use of chorus and boy soloist on "Beauty Killed the Beast IV" is wasted because the words can't be understood and aren't given in the CD booklet either. Such use of vocal forces has become too much of a cliche anyway.
The CD design is the usual kind -- filled with color photos. There's also an unappealing mini-poster that I wouldn't hang up anywhere. Not one word is given by Jackson about the score or the composer.
I believe it's Jackson huge ego that ruins this three hour film. It's too long, too creepy and too cold.
To answer my question raised at the beginning of the review, how does this 2005 KONG score compare with Max Steiner's or John Barry's? I'd place it a bit higher than Barry's score but far lower than the monumental Steiner score (see the review below). The Barry score is one of the few highlights of the awful KONG film from 1976. But at least that version didn't try to do an exact remake of a fantasy film classic.
Overall I'd say that considering how little time he had to complete it, James Newton Howard's KING KONG score is excellent in the quieter moments but less so in the action music.
Even with my reservations this KONG score ranks among the best of the year. But not the film. That's vastly overrated.
--Roger Hall, 20 December 2005
========================================================
Here's a past FMR review of the original 1933 soundtrack...
|
Editor's Choice - Best of the Month for October
1999 |
KING KONG (1933)
31 Tracks (Playing Time = 73:35)
Original Motion Picture Soundtrack Composed and Conducted by Max Steiner. Album Produced by Ray Faiola.
Rhino Movie Music CD R275597.
Rating: *****
Track Titles:
THE STORY OF KING KONG (dialogue and music)
1. The Adventure Begins
2. Aboard Ship
3. Arrival At Skull Island
4. The Ship At Night
5. A Bride For Kong
6. The Log Sequence
7. Denham's Escape
8. Kong Attacks The Village
9. Kong In New York
10. Kong Escapes
11. Death Of King Kong
KING KONG MUSIC SUITE (previously unreleased)
12. Main Title
13. A Boat In The Fog
14. The Forgotten Island I
15. The Forgotten Island II
16. Jungle Dance
17. The Sailors
18. The Bronte
19. Stolen Love/ Humorous Ape
20. The Aeroplane/ Finale
Well film music fans, it's here at last - the first great film score of this century (All-Time Favorite Film Scores). And this is the first time that the complete original soundtrack has been released on CD.
So far, there have been two excellent re-recordings of Steiner's KING KONG score: one originally recorded in 1976, conducted by Fred Steiner (no relation), and released on a Label X CD in 1993 (also available on a LaserLight CD, 1998). The other re-recording is an excellent one conducted by William T. Stromberg on a Marco Polo CD - named one of the Best Vintage Soundtrack Releases for 1998.
There will be some diehard film score hounds who won't like the first part of this CD, "The Story of King Kong," which has about 49 minutes of dialogue and music taken directly from the film's soundtrack. But if you're a huge fan of this classic movie, like I am, then you'll enjoy every minute of it. I remember when this classic was first telecast on WOR in New York in the mid-1950s. They advertised the film for weeks before it premiered and then it was shown every night for a week on "Million Dollar Movie." But that wasn't unusual. They always had only one film playing for the entire week. And they were all RKO classics, like CITIZEN KANE, THE MAGNIFICENT AMBERSONS, and of course KING KONG. As a young sci-fi/fantasy film freak, I watched KK every night it was shown and loved every minute of it. It still remains one of my favorite films ( Top Ten Favorite Scores).
Besides Steiner's moody and exciting film score, there's also some snappy dialogue and Willis O'Brien's remarkable special effects. KING KONG is a monumental classic - pure and simple.
The extra special treat on this original soundtrack is the previously unreleased 24 minute suite from the film, this time without any dialogue. If you listen to track 14-15 ("The Forgotten Island I and II") and they sound familiar, then give a listen to the opening of THE LOST WORLD: JURASSIC PARK. You'll hear John Williams paying homage to Steiner's great classic score from 1933. Strangely enough, after listening to this suite, I miss the growls of KK and the screams of Fay Wray in the film. Is that strange? Not really. Unlike recent films, I'd rather hear this soundtrack with BOTH dialogue and music. And that's what this wonderful release lets you do - play whatever interests you most.
The 38 page booklet attached to the CD cardboard cover is a collector's dream - full of marvelous movie stills, concept drawings, movie programs and other publicity. Even the colors of the booklet are muted to suggest the age of this old classic film (and score). Liner notes are superb, written by the very knowledgable Rudy Behlmer. The only slight objection is that the CD is difficult to remove from the cardboard sleeve. My suggestion for collectors: put the CD in a separate blank jewel box.
In his opening remarks in the booklet, Danny Elfman sums it up very nicely when he writes: "I personally owe Max Steiner and the score to KING KONG a great personal debt. I have often quoted from it and used it for inspiration. Steiner really is the grandaddy, the godfather of this wonderful. maddening crazy art that so many of us are still fans of today."
This is the best vintage film score release of the year so far.
Take Danny Elfman's advice, even if you have the Label X or Marco Polo CDs, buy this one conducted by the man himself - the godfather of film scores!
A superlative release. Essential to any film music collection.
--by Roger Hall, 7 October 1999
Music composed, orchestrated, and produced by John Ottman.
22 Tracks (Playing Time = 54:46; 21 Score tracks: 49:36)
Performed by the Northwest Sinfonia conducted by Bruce Harvey. Also includes the song "Broken," composed by Robert Downey, Jr. and Mark Hudson. Sung by Robert Downey, Jr. Score recorded at Studio X, Seattle, WA. Mixed at O’Henry Sound, North Hollywood, CA. Recorded and mixed by Casey Stone. Music editing by Amanda Goodpaster. Mastered by James Nelson at Digital Outland, Tacoma, WA. Art direction by Mark Banning.
La-Land Records 1039
Rating: ****
KISS KISS BANG BANG premiered at the Cannes Film Festival this year and has been making the festival circuit over the past few months where it has been getting steady positive notice. It arrives in theaters this month. The film features Robert Downey, Jr. and Val Kilmer and is the directorial debut of Shane Black. Black wrote the screenplays for the four LETHAL WEAPON films and several other action-based films. Here he has updated the film noir genre a bit as adapted from a Brett Halliday novel. About the only thing awkward about the film is its title.
John Ottman somehow managed to find time to fit in work on this score in what has been a busy year for the composer of next year’s new SUPERMAN film. However, in some ways it is a return to the kind of film that Ottman built a steady string of scores for over the past decade (like GOODBYE LOVER, 1998). If anyone could find a way to pull together the various threads of this project, it would have to be Ottman. I have been a fan of his work for some time and fortunate enough to have heard many of his newer scores. Ottman reminds me a bit of Goldsmith in terms of his ability to lift what might be awful film material to a level that winks and charms the audience.
"The Fair" starts the disc off with a nice Elfman-esque waltz idea catching one off guard with its delicate lyricism before changing mood entirely in its final bars and moving on into the "Main Titles." These are essentially a nicely lyrical thematic idea in an updated Noirish style that is part Bond, and part smooth cool jazz. It is not much of a stretch to think of it as a mesh of Mancini’s PETER GUNN music with Christopher Young’s fun score to THE MAN WHO KNEW TOO LITTLE, hinted at best in "Toy Heist." It has the same jazzy feel at times like Rolfe Kent’s SIDEWAYS score and less "hip" than say Eflman’s MEN IN BLACK outings, but the style is all Ottman. The engaging melodic ideas will sucker you in to enjoying the musical ride you will be on for most of this disc. So though the score is not intentionally as over-the-top as Shearmur’s JOHNNY ENGLISH a couple of years ago, it is instantly likeable unless you are looking for something that is a bit darker. The score weaves together the two primary thematic ideas heard at the start of the disc throughout. Along the way, Ottman’s orchestrations hint at other noir scores of more recent vintage with some nice touches that could be out of a page of a Goldsmith score, or even one by Herrmann (especially, in "Saving Perry"). It may not seem like high praise, but it is intended to be.
Unlike so many film scores with brief individual track listings (under 2 minutes), Ottman is adept at communicating and shaping his music to work excellently in that parameter. Longer scenes allow one to follow the dramatic ebb and flow more succinctly, and taken as a whole the score as presented here works quite well though it will seem a little overlong. The song at the end offers little new or interesting.
While some may have forgotten that Ottman can write a subtle and delicately orchestrated cue, this will help remind many of his superb ability to latch on to the essence of a film and communicate it in such an effortless fashion. Thanks to La-La Land fans will not have to wait 25 years to hear this score. Others will find much to admire as well.
--Steven A. Kennedy, 16 November 2005
15 Tracks (Playing Time = 75:43)
Music composed and conducted by James Horner.
Album Produced by Simon Rhodes and James Horner. Supervising Music Editor: Dick bernstein. Music Editor: Michael Bauer. Orchestrations: James Horner, Randy Kerber, Bruce Babcock, Eddie Karam, Jon Kull, Conrad Pope, David Slonaker. Synthesizer Programming: Ian Underwood, Randy Kerber. Etnic Woodwinds: Tony Hinnigan, Kazu Matsui. Guitar Solos: Dean Parks, George Doering. Principal Horn: James Thatcher. Principal Trumpet: David Washburn. Music Recorded and Mixed by Simon Rhodes at Todd-AO Scoring Stage, Studio City, California. Album Edited abd Mastered by Simon Rhodes.
Sony Classical SK 97751
Rating: ***1/2
Back in 1998, THE MASK OF ZORRO became a big hit, starring the beautiful Catherine Zeta-Jones, the dashing Antonio Banderas, and the sly Anthony Hopkins. The score by James Horner managed to evoke the period quite well. Now there is the sequel film, THE LEGEND OF ZORRO, again starring Zeta-Jones and Banderas but not Hopkins. Is this sequel score as good or better than the first score? Well, let's discuss...
There seem to be two camps concerning James Horner -- those who think his scores are mostly reworkings of his previous ones, and those who enjoy his scores for what they sound like regardless of how much he may borrow from himself or others. I tend to be more in the second camp. Horner has already received many awards for his film music -- two Oscars (song and score) for TITANIC and five Oscar nominations, plus six Grammy awards, including his song "Somewhere Out There" from 1887, and "My Heart Will Go On" from 1998. Though there are some soundtrack collectors who are quick to criticize his "borrowings," Horner does receive quite a lot of film scoring work and continues to satisfy many film fans.
This sequel does have some similarities with THE MASK OF ZORRO, especially the main theme, which happens to be a very memorable one.
The first track on this CD, "Collecting the Ballots," (3:25) starts out promising with a series of bold flamenco guitar strums accompanied by a rhythmic pattern and the evoking of dancing feet in the percussion, but then it moves into a standard action type score when the full orchestra comes in. Still this score carries a lot of excitement. There are some quieter moments too, like the grandly developed "This is Who I Am"(track 4, 3:05), which majestically brings in THE MASK OF ZORRO theme at the end.
The longest track is "The Train" (track 13, 11:11), which begins with a train whistle and quickly picks up speed with ethnic woodwinds and percussion, then quiets down to almost inaudible before picking up the tempo and dynamics once again. It carries the action along with a driving rhythmic pattern on guitar, percussion and solo trumpet. The howling ethnic woodwinds seem a bit overbearing at times and the sound is sometimes shrill when the solo trumpet plays.
The final track, "My Family is My Life,"( ) features the solo trumpet and flamenco guitar with the same dancing feet rhtyhms heard earlier and the main theme from THE MASK OF ZORRO repeated once again.
The CD booklet has an attracive cover and some colorful film stills. And all the musicians are listed, correctly recognizing those who do the playing on such a soundtrack CD.
So to answer the question I posed at the beginning of this review -- is this sequel CD as good as THE MASK OF ZORRO? Not quite.
THE LEGEND OF ZORRO does have the proper ethnic flavor and is loud and exciting when it's called for, but overall it doesn't have much that's different from its predecessor.
It is still a very good score and should be appealing for those who like their film music loud and action-packed.
-- Roger Hall, 9 November 2005
12 Tracks (Playing Time = 41:39)
Music composed and produced by Alex Wurman.
Solo instruments: Flute (Fred Seiden), Bassoon (Ross Corrigan), Piano (Alan Steinberger and Alex Wurman), Harp (Katie Kirkpatrick), Vibes (Bob Zimmetti), Percussion (Martin Beller). Orchestra conducted by Jeffrey Schindler. Orchestrator: Tom Calderaro. Music Editor: Ellen Segal. Recorded by Samuel Lehmer and Larry Man. Mixed by Samuel Lehmer. Recorded ar Eastwood Scoring Stage, O'Henry Sound Studios, and Sonart Productions. Music Mixed by Sonart Productions. Mastered by Nancy Miller. Album Art Direction: Jodi Tack.
Milan CD M2-36131
Rating: ***1/2
This exquisite documentary has been one of the surprise hits of 2005. Who would have guessed that a film about the long journey of Empire Penguins in Antartica would have been so fascinating and inspiring? This film directed by Luc Jacquet, and beautifully narrated by Morgan Freeman, proves that the natural world can be every bit as intriguing as any story about human relationships.
Obviously composer Alex Wurman was equally inspired by this film production. He has created a subtle and sensitive score, using a minimum of electronics, some solo instruments and orchestra. The overall effect on the CD tracks is vast and expansive like the cold and barren Antartic landscape. For some this may sound too much like New Age music, but so what if it does...it works!
There aren't any real themes. It's more like soundscapes.
The first track, "The Harshest Place on Earth" (3:56) illustrates this nicely with an opening flute solo leading into an electronic soundscape representing the vastness of Antartica. It's also heard in track 3, "The March" (5:22), with a repeated piano pattern and various solo instruments added to the mix. The music isn't really marchlike in a militaristic sense, but is rather more jazzlike to accompany the long trek of the determined penguins. Then there are slower cues too, like "Walk Through Darkness" (6:19), which evokes the mystery of the long frigid terrain without light.
Overall these soundscapes by Alex Wurman work very well with the film, but less well as a separate listening experience. After a few tracks, Wurman's mood pieces become less enthralling without the film images.
The CD booklet is attractively designed and includes some comments about the filmmaking team from Alex Wurman.
This Milan soundtrack that should appeal especially to those who have seen this extraordinary documentary and want to recall the atmospheric musical soundscapes.
--Roger Hall, 15 November 2005
18 Tracks (Playing Time = 61:13)
Music composed, conducted, and produced by John Williams.
Featuring Itzhak Perlman, violin; Yo-Yo Ma, cello; Masakazu Yoshizawa, shakuhacki; and Masayo Ishigure and Hiromi Hashibe, kotos. Music edited by Ken Wannberg, Ken Karman, and Ramiro Belgardt. Music recorded at Royce Hall, UCLA; and Sony Pictures Studios, Culver City, CA. Score recorded and mixed by Shawn Murphy. Album mastered by Patricia Sullivan at Bernie Grundman Mastering, Hollywood, California. Art direction and design by Susanne Cerha.
Sony Classical 74708
Rating: *****
Rob Marshall’s adaptation of the widely popular Arthur Golden novel, MEMOIRS OF A GEISHA, comes to theaters in time for Oscar consideration. Already it has been receiving much critical acclaim and the previews themselves appear to indicate a beautifully shot film. Into the mix, add the third score by John Williams this year, itself receiving accolades as one of the best of the year and there is much anticipation for those waiting to hear this score.
The disc opens with the brief theme for Sanyuri. It is reminiscent of Tan Dun’s scores for CROUCHING TIGER, HIDDEN DRAGON (2000), and HERO (2002), but falls closer thematically to Williams’ equally excellent score to the tepid SEVEN YEARS IN TIBET (1997). Simplistic beauty is only a small part of the adjectives one could use to discuss this music. That is because along the way, with arching cello lines (supplied by Yo-Yo Ma) comes a fascinating blend of Asian instrumentation unlike anything in Williams’ canon. In "Going to School" the mixture of Western and Eastern sounds blends effortlessly. With shakuhachi and koto solos added in, Williams takes us fully in to the cultural expression of this story.
The unusual combinations are always captivating in a way the experimental writing in IMAGES (1972) often was, though here they are far from that atonal and often visceral score. This is on display best in "The Rooftops of the Hanamachi." "Brush on Silk" is just one of many places where you can forget you are listening to a contemporary piece of music by an American composer as the style is so well captured in the music. "Chiyo’s Prayer" features both the "star" artists in solo writing coupled with gorgeous shakuhachi playing by Masakazu Yoshizawa, one of the several strands of creative genius that is on display. As Sanyuri’s theme recurs throughout the score it is treated to a variety of orchestral accompaniments that run the gamut from solo expressions, to full orchestral ones with Taiko drumming styles creating various senses of energy. Every now and then the music receives a fascinating shimmering sound with ostinati in vibraphones that recalls other minimalist composers influenced by Asian gamelan playing.
Once the album is underway, there are many common Williams fingerprints to be found. "Finding Satsu" features orchestral writing often used by Williams to underscore emotionally dramatic scene changes. An undulating bass line plays around on thematic material, repeating the line and growing in intensity in a way common to many of the composer’s dramatic music from the STAR WARS films to ANGELA’S ASHES (1999) and STEPMOM (1998). In this score presentation, however, these moments are few and far between and often taken in different directions from earlier scores. Throughout one is reminded of the way Williams is adept at creating the proper mood and texture for a scene and in unifying a score with thematic threads.
The disc closes with one of the shortest end credit suites that Williams has used on CDs in quite a while clocking in at under 6 minutes.
The booklet folds out to reveal many stills from the film. There is nothing else in the booklet from anyone concerned with the film.
This is perhaps Williams’ finest score yet on a par with SCHINDLER’S LIST (1993) in its emotional expression and thematic poignancy. Every track is a highlight if you can believe that!
If this score does not win Williams his sixth Oscar it would be a surprise even with some excellent competition.
--Steven A. Kennedy, 1 December 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
And another review...
| Editor's Choice - Best of the Month for December
|
Rating: *****
I must say I agree with Steve's assessment of this soundtrack. John Williams continues to amaze with his incredible diversity. Just look at what he had accomplished so far this year: STAR WARS: EPISODE III - REVENGE OF THE SITH and WAR OF THE WORLDS, both very different sci-fi scores .
MEMOIRS OF A GEISHA is yet another example of his enormous talent in writing a superlative score. It reminds me of such brilliant Williams scores as SCHINDLER'S LIST and SEVEN YEARS IN TIBET, which both received Sammy Awards.
There are two major themes: "Sayuri's Theme" is beautifully played by cellist Yo-Yo Ma on the first track, and the other theme a glorious one -- "The Chairman's Waltz"(track 8), sensitively performed by violinist Itzhak Perlman. Both themes are heard throughout the score and are developed with great skill and imagination. They are both perfectly rendered Asian-style themes. Among the high points of this great soundtrack are track 16, "Confluence," and "Sayuri's Theme and End Credits"on track 18. Both tracks have the themes skillfully interwoven.
I need not mention other tracks since every one of them has something worthy to offer, with prominent use of koto drums and shakuhachi and the beautiful solos played by Yo-Yo Ma and Itzhak Perlman, which are used sparingly throughout this quiet and subtle soundtrack.
This is surely one of the best soundtracks of the year and also one of the most serene John Williams scores of the past decade.
MEMOIRS OF A GEISHA is a CD that belongs in every John Williams film score fans library.
Highest recommendation! A complete triumph!
--Roger Hall, 1 December 2005
17 Tracks (Playing Time = 41:32)
Music composed by Dario Marianelli.
Decca 005 620
Rating: *****
With a superb BBC television adaptation featuring a wonderful score by Carl Davis, one had to wonder if there was need for yet another recent adaptation of this Jane Austen classic. But, SENSE AND SENSIBILITY had its day a few years back in a feature film form that did justice to the novel and had a great score by Patrick Doyle. Now comes this latest endeavor with a great deal of positive critical buzz.
This new feature, directed by Joe Wright, stars Keira Knightly, Brenda Blethyn, Judi Dench, and Donald Sutherland among other lesser know names.
The score this time out is by Dario Marianelli who provided music for this summer’s Terry Gilliam flop, THE BROTHERS GRIMM. Marianelli has remained relatively unknown here though he has been working in film since the mid-1990s with many scores for smaller, independent productions. His score for THE WARRIOR (2001) received a nomination from the British Independent Film Awards, and his music for IN THIS WORLD (2002) also received some critical notice. Another film that gained some attention here is I WENT DOWN (1997), but this new score should do much to raise his name up among film score fans.
In both the Doyle and Davis scores, the piano is a prominent, and appropriate musical choice. Here, Marianelli has continued that tradition by composing a thematic idea that is Mozartian in quality with perhaps a touch of Chopin and Beethoven. It is this piano miniature, "Dawn," that opens the disc setting the tone for a score of Classical restraint. "Georgiana" does the same later on in the disc, but moves into an accompanied orchestral restatement. There is a little Purcell included as well with a track devoted to a free variation on the Purcell tune favored in Britten’s set of orchestral variations which also recurs later. Marianelli masterfully crafts his writing here and pulls out a few more contemporary stops now and then, most gorgeously in "Liz on Top of the World." However, the music tends to evoke the period very well with only the harmony revealing its later compositional date.
The same period feel from the aforementioned scores is marvelously recreated here in original tunes that would make many Classical music scholars scratching their heads wondering which Beethoven or Mozart piece it is taken from. In "The Living Sculptures of Pemberley," Marianelli moves us more into romantic territory with a bit of a modal feel at times reminiscent of Kaczmarek’s FINDING NEVERLAND score. There is even some appropriate dance music with its more folkish Renaissance feel and some period fife and drum music for the militia. "Arrival at Netherfield" includes an opening piano idea closer to French Impressionism (and really more of a Satie-like feel), but soon moves back to its more 18th-century sound with orchestra. The closing credits music does an excellent job of melding these two somewhat different styles together and proves a fitting conclusion to the disc.
In short, this is the kind of score that gets critical notice come Oscar time for its craftsmanship than say for a big memorable theme. Most though will find that the sound of the picture will stay with them far after the disc (and film) end. Many will do as I did after my first listen and just hit "replay" for the whole disc.
The playing by Jean-Yves Thibaudet, a familiar name to classical music fans, is exquisite throughout and the orchestral sound is equally restrained; shimmering when it needs to and providing a fuller sound when necessary.
Just when the one or two minute tracks seem to have exhausted their material, longer more drawn out ones provide Marianelli a chance to give more breadth to his music.
It works very well and makes for one of the finer listening experiences for a period score in some time.
--Steven A. Kennedy, 9 November 2005.
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
17 Tracks (Playing Time = 45:56)
Music composed, orchestrated, conducted and produced by Alexandre Desplat.
Hollywood Studio Symphony. Music Recorded and Mixed by Dennis Sands. Music Editor: Nic Vidar. Recorded at Warner Bros. Eastwood Scoring Stage and Sony Scoring Stage.
RCA Red Seal 82876761212
Rating: ****
French film composer Alexandre Desplat is known especially from his fine 2004 score for GIRL WITH A PEARL EARRING, which received several nominations including from BAFTA and European Film Academy. Other scores he has done for English-language films include BIRTH, HOSTAGE, and THE UPSIDE OF ANGER.
His most recent score for SYRIANA is a very flavorful mixture of electronics and ethnic-tinged orchestral music for the political thriller by Stephen Gaghan in his directorial debut. The film stars George Clooney, Matt Damon, Jeffrey Wright, and Amanda Peet.
The music is mostly in the very simple minimalist vein of constant evolving or repeated themes.
Much of Desplat's score is of a quieter nature, such as opening title track (2:28) with just a few instruments employed. This theme is expanded in a piano solo (played by Brian Pezzone) on track 7 (3:19). This quiet music reminded me of French classical composer Erik Satie and his Three Gymnopedie.
The second track, "Driving in Geneva"(2:45), features an insistent minimalist pattern in the strings while employing a solo duduk and piano as slower counter instruments. That is followed by "Fields of Oil" (2:10), featuring appropriate Middle Eastern ethnic instruments.
The blend of electronics and ethnic instruments is well handled in this film score. For example, this blending is demonstrated on track 10, "Electricity" (4:00) and track 12, "The Abduction" (4:17).
Besides than the rather ugly CD cover, the booklet has track listings and musician credits and a few color movie stills, but nothing about the film score.
SYRIANA is an excellent soundtrack and should appeal to those in search of more subtle film music.
Recommended for the adventurous listener.
-- Roger Hall, 20 December 2005
For more, see
15 Tracks (Playing Time = 47:20)
Music composed and produced by George Fenton.
The Royal Philharmonic Orchestra conducted by George Fenton. Orchestrated by Geoffrey Alexander. Also featuring the Central Band of the Royal Air Force directed by Duncan Stubbs; and the Syd Lawrence Orchestra directed by Chris Dean. Score recorded and mixed at Air. Lyndhurst Studios, London. Engineered by John Richards. RAF Central Band recorded at Angel Recording Studios, London, and engineered by Steve Price. "Shoo Shoo Baby" performed by Mis-Teeq. Produced by Phil Ramone. Arranged and programmed by Jamshied Sharifi. Recorded and mixed by Dave O’Donnell at Right Track Studios, NYC. Music edited by Peter Clarke. Album mastered by Peter Mew. Design and art direction by Phil Giggle at CIDesign:01. Additional design by Add to the Noise.
Walt Disney Records 61388
Rating: ****
VALIANT was one of those British import animation features this time distributed through the Disney company. The Britishness of a bunch of pigeons (voiced by British comics and featuring Ewan McGregor) becoming heroes was likely deemed unmarketable to children in the US and the film quickly disappeared from theaters in late August. Judging from the score alone, Disney should have tried a little harder to push this film over the wretched CHICKEN LITTLE.
George Fenton’s score comes from the classic film scoring school all across the board. There is a delightful "March of the R.H.P.S." as well as soaring heroic themes. The full orchestral sound of the RPO adds to the superb quality of the score as well. There is some mickey-mousing, appropriately in "Mouse Division" and in select other places. The extensive track (at over 12 minutes) titled "The Rescue and Escape" features plenty of battle music, the soaring Valiant theme and is reminiscent of the flight sequences from THE BATTLE OF BRITAIN, but here it is a little less serious, if not as equally dramatic. Also wonderful is the swing band music found in "Arrival at Camp." Even the silly little song with Mis-Teeq is fun and has a sort of Manhattan Transfer feel. It fits very well with the material and closes off the disc.
In short, this is a fun listen all around featuring great action cues, heroic music, and great thematic writing (taking off from the title cue) that makes you wonder why Fenton is not called on more often. The music has a definitely "English" feel in many places recalling Walton or Elgar at times, especially in "Winged Heroes" with its processional march feel.
This is probably the most score material to appear on a film Fenton has worked on for quite a while and it comes highly recommended.
If you enjoy Ron Goodwin’s music you will find much to enjoy hear.
VALIANT turns out to be one of the sleeper scores of the summer and worth tracking down.
--Steven A. Kennedy, 3 December, 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
Compilation and Musical
Reviews
BERNARDO BONEZZI—ALMODOVAR EARLY FILMS
19 Tracks (Playing Time = 49:59)
Music from:
§ LABERINTO DE PASIONES (1982—2 tracks, TOTAL TIME: 8:16; LABYRINTH OF PASSIONS)
§ QUE HE HECHO YO PARA MERECER ESTO! (1984—5 tracks, TOTAL TIME: 11:13; WHAT HAVE I DONE TO DESERVE THIS)
§ MATADOR (1986—5 tracks, TOTAL TIME 14:51)
§ MUJERES AL BORDE DE UN ATAQUE DE NERVIOS (1988—7 tracks, TOTAL TIME: 13:41; WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN)
Music composed, arranged, and produced by Bernardo Bonezzi. Musical colloaborations with Pedro Almodovar and Fabio de Miguel. Vocals on "Gran Ganga" by Pedro Almodovar; on "Suck it To Me" by Almodovar and Fany McNamara. Remastering by Luis Villena. Graphic Design by Juan Gatti.
Silva Screen 1023
Rating: ****
Being a fan of Almodovar’s films, I was looking forward to this collection featuring music from Bernardo Bonezzi—the director’s first musical collaborator. Bonezzi’s first film scores were also written for this director and music from each of them finds its way to this disc. The four film scores included here all stem from the 1980s when Almodovar’s work was first gaining attention in America. It includes the popular 1988 comedy, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, and some of the more unusual films from this period of Almodovar’s creative output. A few years ago, a Spanish label released a two-disc set of music from the director’s current composer of choice, Alberto Iglesias. That set, like this single disc, was organized chronologically from newest to oldest. So I will approach the music in that way as well.
WOMEN is an unusual comedy that has many comedic moments amidst the always unusual cast of characters. Up to this point it is the safest entry point into the director’s ouvré. The opening main title track is a relaxed little dance number with a fine lyrical line. It is composed with an approach similar to Morriconne’s popular comedic writing (with LA CAGE AUX FOLLES perhaps the most similar in terms of intent.) The second score selection though sits more firmly in an advance scoring style that has a darker tint to it. It falls somewhere along the line of an updated 1950s style melodrama with the darker string writing of Herrmann and unusual orchestration of Morriconne. The more popular style of "light" music returns briefly for "Taxi Triste" allowing for a restatement of the main title’s thematic ideas. Bonezzi’s work here parallels the style that Iglesias took over for later Almodovar films. There are moments of poignancy that help support the depth of characterizations we see on screen. There are also snippets of melodic ideas that help cement the music more vividly in one’s mind. This gentle alteration between the darkly human dramas played on screen play against situations that are comedic in the sense of the overarching plot of the film. But individually, these musical postcards capture the inner emotions of the people we see facing these situations. There are moments of bizarre comedic writing along the lines of John Lurie, in "Hacia el aeropuerto" which serve to underscore the strange behavior of the characters. Playing here like some oddly out of synch Hitchcock thriller—complete with a PSYCHO reference. Those familiar with the film will appreciate the inclusion of the "Taxi Mambo" as the final track to this segment of the disc. WOMEN was only Bonezzi’s second film score but it garnered him a 1989 Goya nomination. It would be there last film together (to date) though Bonezzi provided songs for 1990’s TIE ME UP! TIE ME DOWN (score by Morriconne).
Of the four films represented, MATADOR is the least familiar to me, having seen it several years ago. This particular film is more in line with the dramatic thrillers of Europe with the primary difference being the unusual characters that always populate Almodovar films coupled with the gamut of sexual behaviors that tend to make more conservative film goers edgy. The disc includes five selections revealing a subtler side to Bonezzi’s writing. The first selection from the film, "Composition in Red" is bittersweet duet for cello and piano. The cello line becomes a primary thematic idea that reappears in the rest of the score. As in other Almodovar films, his composers somehow manage to provide a score that is an update of the kind of 1950’s Hollywood scoring that matches his melodramatic influences. These stand alongside more contemporary scoring choices like "Composicion en ocre" which places a Spanish guitar line alongside a very 80s sounding piece complete with electronic instruments which give it a bit of a Donaggio sound. "Composicion en negro" repeats the earlier thematic idea played as a piano solo (though the sound suggests it may be an electric instrument). Again, firmly in line with Spanish film scoring, and European scoring choices. Among the more frustrating tracks is the title one which opens with a wordless female vocalist passionately heaving through the lyric line. Once that passes the track improves with interestingly accented writing imitating bullfighting, complete with a brief prominent trumpet line, and a richly-orchestrated conclusion.
1984’s WHAT HAVE I DONE TO DESERVE THIS? is another of those strange combinations of characters with their set of unique problems and dysfunctions. This time what appears to be a normal nuclear family is more "nuclear" than family. The music again finds a close cousin to Morricone’s less astringent scores. The melodic ideas are engaging, especially so in the beautiful "Gloria’s Family." When things get bizarre or comical, Almodovar’s instructions must have been to resort to more contemporary sounding scoring. This appears to be the case with "Madrid-Berlin," which I believe underscores a travel/action sequence. The sound is completely 1980s pop jazz with some electronic bass lines moving slowly through the texture in what is essentially a thirty second bit of underscore with immediate repetition. The wonderfully contemporary jazz number, "La Soledad de Gloria," complete with solo trumpet is among the highlights of this score which hints at a kind of late-night jazz feel with strings. There is some flutter in the source material towards the end of the track. This particular cue was reused in 1987’s "Law of Desire." The lighter scoring approach is in keeping with the way Almodovar has come to want his comedy underlined in his films. The title track, which finishes off this section, could come from any number of Italian comedies with scores by Piovanni.
For 1982’s LABERINTO DE PASIONES, Bonezzi contributed two songs which he collaborated on with the director and Fany McNamara. This is one of the weirdest of Almodovar’s films and does not make the translation to America very easily. It is interesting primarily because one sees many of the threads that would recur in his later films. It also features a very young Antonio Banderas in what is one of his first film roles. The songs will be of mild interest to most who pick up this disc so it is perhaps to the advantage of the release that they show up at the end.
Silva has done fans of Almodovar’s films a great service by releasing the scores to these earlier films. It comes at a perfect time as his last few have been masterpieces. Some will recall my selection of Iglesias’ score for BAD EDUCATION as one of last year’s best scores. These scores would probably fall less into that category only because the style of films for which they were written gets less notice. The standout score here is obviously 1988’s WOMEN ON THE VERGE but the collection features much of interest here musically as well exhibiting Bonezzi’s early film work. It would be interesting to hear something more recent to see how his ability has progressed now that he is entering the mid-point of his career. His music has continuously garnished praise from critics oversees. This disc will serve to introduce him to American film music fans.
It is unfortunate that Silva chose to provide little or no information about Bonezzi or any of the films or tracks included here. No doubt they are keeping costs down for what might appear an esoteric release hoping to get noticed amid other scores for Almodovar’s films. The contemporary design of the cover and prominent title will also help and is eye-catching on the rack.
Fans of these films will want to add this to their collection and others will find another great Spanish film music voice to stand alongside the more recently familiar work of Alberto Iglesias.
--Steven A. Kennedy, 5 November 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
Bollywood: An Anthology of Songs from Popular Indian Cinema
Disc One: 12 Tracks (Playing Time = 55:09)
Disc Two: 11 Tracks (Playing Time = 61:04)
Includes music from: 23 Indian films from 1949 through 2001.
Album compiled by Yusuf Gandhi and Amarpal Singh Gaind. Produced by Reynold de Silva. Design by Damien Doherty.
Silva Records 1204
Rating: ****
Though I have to admit to looking at this set twice when it arrived for review, this two-disc compilation of popular songs from India is an important overview of one of the largest film industries in the world, if not the largest, Bollywood. The release will make a perfect compliment to anyone who searches for an accompany coffee table art book from Dakini Press of the same title authored by Lalit Mohan Joshi, who also provides brief information about each track on this set.
The anthology is split nicely between the two discs. Disc one consists of 12 "classic" songs from films released between 1949 and 1977. Featuring what appear to be original recordings in updated sound, with some source problems on occasion, the disc illustrates the performance styles of some of India’s most popular performers such as Geeta Dutt, Asha Bhosle, and Lata Mangeshkar. Some may have been lifted directly from their respective film soundtracks but no information about the sources beyond the films they appeared in is provided. The melodic ideas are an intriguing mix of everything from Benny Goodman jazz-era styles to rock and roll, and even Broadyway-esque ballads with distinct Indian raga patterns and musical inflections all part of the mix. Nashuad’s song, ""Madhuban Main Radhika" from KOHINOOR (1960) actually borrows from the Indian raga "Hameer" for its musical inspiration, highlighted by singer Mohammed Rafi. Some are immediately identifiable culturally by their instrumental choices as in the song, "Ramaiya Vastavaiya," from SHREE 420 (1955, music by Shankar Jaikishan). And they are carefully selected to represent a brief cross-section of the music in Indian cinema. Some are songs from within a given film, others, like "Aayega Aanewala" (from MAHAL, 1949) are songs that served also as main titles. In the case of this particular song, one hears additional orchestral music that could easily have come from a Hollywood film of the 1930s or 1940s. These are not so much derivative as a concurrent and somewhat independent musical style. For example, change the language of "Dum Maro Dum" (from HARE RAMA HARE KRISHNA, 1971) and you could be easily in Morricone spaghetti-western territory. S.D. Burman’s "Roop Tera Mastana" (from ARADHANA, 1969) could easily have come from the pen of Mancini, but again it is a sign of its musical period rather than a "copy." "Churaliya Hai Tum Ne" (from YAADON KI BAARAT, 1973) is noted as an important song from the 1970s disco craze but has a rhythm far closer to a classic samba.
Disc two is subtitled, "Bollywood Contemporary." This second disc features music from the past 25 years. Experiments in song forms continue into this period as well with some intending to serve narrative purposes like more contemporary Broadway theater. The style of the music though is still firmly rooted in Indian music. "Didi Tera Devar Deewana" (from HUM AAPKE HAIN KOUN, 1994), which opens this disc is a masterful combination of both Indian traditional music and contemporary popular music. At nearly eight minutes, it is a substantial song. Interestingly, these later songs have a more decided Indian flavor than some of those on disc one. But the music ends up having more of a world music feel which will make it more attractive to the casual listener. The songs alter between those with strictly Indian-sounding music and those with a mixture of contemporary popular rock sounds. The rock band of the 1950s and 1960s is a definite formative influence for many of the songs one hears on this second disc. However, the most striking thing is how the popular styles are closely parallel to American popular song from the period. Even a cursory knowledge of American popular music from this period will give you enough musical background to appreciate the various styles included in this compilation. Some will be interested in this disc for the inclusion of three songs by crossover composer A.R. Rahman from the films ROJA (1992), THAKSHAK (1999), and ONE 2 KA 4 (2001). Also of interest is the inclusion of "Ae Naujawan Hai" (from APRADH, 1972) a dance hit that has been sampled in a song by the Black-Eyed Peas, and "Ek Doosre Se Karte Hai" (from HUM, 1991) sampled in a hip-hop song by Lil Kim.
The songs are chosen both for their importance in Indian cinema and for a particular unique sound or cultural breakthrough in its lyric. They are not placed in any particular chronological or thematic order. The only real problem with this anthology is that such a nuance will be lost on many since texts and translations do not exist for the neophyte. It will not detract much from one’s enjoyment or discovery as the music is quite engaging from any number or perspectives. The vocal style will be the one thing that is uniquely different and like all world music is a cultural and personal taste. If you are adventurous you will be rewarded. This disc should market very well selectively in the UK and Canada with some pockets of interest in the US. Those who own the book will definitely want to add this to their collection. The photos in the booklet are all taken from it. Film files will need to decide if they are ready to have this musical world opened up to them. Even in these songs, there is a unique national sound that is different from that of other Eastern nations. The appeal for those not from this region will come in the interesting musical lyricism and parallel musical developments in popular song in the 20th century. As such it is an important release.
--Steven A. Kennedy, 16 November 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
The Television Music of Geoffrey Burgon
24 Tracks (Playing Time = 58:35)
Album produced by Geoffrey Burgon and James Fitzpatrick. The Philharmonia Orchestra conducted by Geoffrey Burgon. Soloist: Lesley Garrett. Digitally engineered and edited by Mike Ross-Trevor. Assistant engineer: Marc Williams. Album design by Damien Doherty. Dolby Surround and HDCD Mastering: SRT, St. Ives, Cambridge. Recorded at Whitefield Street Studios, London, January 1992.
Silva Screen Records SILCD 1199
Rating: ****
This CD compilation should have great appeal for those who have enjoyed the popular BBC-TV productions. There are five suites on this compilation from THE CHRONICLES OF NARNIA; TESTAMENT OF YOUTH; BLEAK HOUSE; TINKER, TAILOR, SOLDIER, SPY; and BRIDESHEAD REVISITED. All these have music composed by Geoffrey Burgon, who also conducts the Philharmonia Orchestra on this compilation. The CD notes are very good for this compilation are so portions of them will be quoted.
CHRONICLES is a series made up of adaptations of C.S. lewis's allegorical novels. The CD notes offer that "the suite is scored for strings with flute, clarinet, bassoon, trumpt, horn, timpani and percussion." The first track has "Aslan's Theme" (1:30) featuring solo horn and flute with strings. The longest one is "The Great Battle" (track 2, 2:45) which has an appropriate mock militaristic marchlike sound spread over a wide variety of solo instrumental passages in the orchestra. Another longer cue is "Aslan Sacrificied" (2:31) with a solo flute nicely soaring over the dark sounding strings, with a quote from the "Crucifixus" of J.S. Bach's B Minor Mass. The final track of the suite is "Farewell to Narnia" (track 7, 1:41) and sounds a bit like Benjamin Britten's happier orchestral music. This is a delightful suite to the popular TV series.
TESTAMENT OF YOUTH is from a 1979 BBC series from the autobiographicl book by Vera Brittan about her life and tragic events during the First World War. As the CD notes indicate: "The score recalls the very English string music style of the period and has been arranged by the composer into a suite of four movements." The first one (1:32) has a dissonant string rhtymic pattern, similar to that used by Stravinsky in his once controversial Rite of Spring ballet music, premiered around this same period in Paris. The next track, "Intimations of War" (3:32), begins with legato strings, before turning to a more strongly rhythmic string pattern. This dark and dissonant strings give this suite a melancholy feel which is appropriate to the story.
The suite from BLEAK HOUSE is an arrangement from the 1985 series based on the Charles Dickens novel has five tracks and the first one (1:40), seems like a continuation of the TESTAMENT series, with its "bleak" sounding theme. Quoting the CD notes again: "the two-part main theme encapsulates the varrying moods of the narrative and features solo cornet - followed by an evocation of the streets and alleys of Victorian London." To my ears the "Finale" (track 11, 2:10) comes off best with bassoon, bass clarinet, horn providing a variation on the main theme "capturing the bittersweet nature of the closing scenes."
TINKER, TAILOR, SOLDIER, SPY was one of the popular TV series every done by the BBC. Among the prominent actors featured were Ian Richardson, Ian Bannem, Beryl Reid, and Alec Guinness playing the central role of George Smiley. Only the "Opening Music" (1:33) and "Closing Theme" (2:15) are included. The closing theme, also titled "Nunc Dimittis, was originally for boy treble and orchestra. On this CD it has been reworked for solo soprano (Lesley Garrett) and orchestra. I don't believe it is nearly as effective as in the TV series with boy treble.
The main theme from BRIDESHEAD REVISITED is one of the best known ones from a British TV series. This internationally popular 1981 Granada TV series starred Jeremy Irons and Anthony Andrews, with a very strong supporting cast of Laurence Olivier, John Gielgud, Claire Bloom, Jane Asher, and Stephane Audran. Once again the notes nicely summarize the score: "the grandeur and sentiment of the times is reflected in Geoffrey Burgon's elegant music, scored for string orchestra, woodwind and harp with important solos from trumpet, oboe and horn." And then it's further explained that "all the music for the series is really a vast set of variations based on the original theme." All six tracks from this suite provide ample variety to this main theme, from the serene main theme (track 19, 2:01) to the lively track featuring galloping strings titled "The Hunt" (track 22, 2:21), to the very quiet flowing strings in "Fading Light"(track 23, 3:53). The final track, "Farewell to Brideshead" (track 24, 2:52) is the most regal of all and brings this milestone TV score to a fine conclusion. This is surely Burgon's best TV score of them all.
The CD art design is tasteful and as previously stated, the notes are very helpful in explaining each of the TV series. There is also a bio section on Geoffrey Burgon's career, mentioning his scores for films and the concert hall.
This is an outstanding collection of Geoffrey Burgon film suites and should have great appeal to the many fans of these British TV series.
--Roger Hall, 10 November 2005
The Film Music of Erich Wolfgang Korngold
18 Tracks (Playing Time = 76:22)
Music from:
THE SEA WOLF (13 tracks: 55:03)
THE ADVENTURES OF ROBIN HOOD (4 tracks: 16:22)
Trailer from THE SEA WOLF (4:40)
Music composed by Erich Wolfgang Korngold and orchestrated by Hugo Friedhofer. The BBC Philharmonic conducted by Rumon Gamba. Produced by Brian Pidgeon and Mike George. Music recorded at Studio 7, New Broadcasting House, Manchester, UK. Recording engineered by Stephen Rinker. Design by Cass Cassidy.
Chandos 10336
Rating: *****
After a series of film music discs featuring suites and selections from various scores, Chandos has turned here to presenting the premiere recording of Korngold’s THE SEA WOLF (1941). Portions of the original recordings surfaced here several years ago on Rhino’s Korngold compilation (Rhino 72243) and Koch released roughly 30 minutes of the score with James Sedares conducting the New Zealand Symphony (Koch 7302). Adding to that discography comes the rest of this nearly hour-long classic score along with music written and used in the trailer. Also, Gamba has recorded the four selections Korngold pulled together to form a concert suite of the music from THE ADVENTURES FOR ROBIN HOOD. Various versions of the four selections have appeared through the years and it makes for an added bonus here.
Michael Curtiz’s adaptation of Jack London’s classic novel, "The Sea Wolf," still makes for an entertaining night at the movies. Classic performances by Edward G. Robinson and Ida Lupino, coupled with noir-ish cinematography by Sol Polito help to make this one of the best of early 1940’s cinema. Korngold’s score, overshadowed perhaps by the previous year’s THE SEA HAWK, continues in a long stream of superb scores the composer provided for Warner Brothers through the 1930s. While later scores are interesting, some would say that THE SEA WOLF is one of the last great Hollywood scores by this master before he began turning to more serious compositional projects.
From the opening bars of the disc it is clear that we will be in for a gorgeous treat. The lush writing is given a clarity here that allows you to appreciate Korngold’s style. It is almost like hearing the music for the very first time. The vibraphone sound is distinctly a part of the texture and the tones do not have this thudding sound, nor are they buried. Coupled with the pizzicato string writing it is a masterful effect exquisitely detailed in this recording. Every bar has Korngold’s post-Romantic stamp on it but there are many moments in the score that begin to move into a different category of sound. There is an almost pointillistic effect to the orchestration. The harmony moves between moments of lushness and stark, almost atonal harshness as the melodies becoming highly chromatic. Though staying mostly within the bounds of convention, the music still has these experimental stages. Some of the musical effects could come from Bartok or Stravinsky and Korngold uses these sparingly. Also included is the use of the novachord, an early synthesizer produced by the Hammond company in 1939. It is used here to represent the descent into insanity of the main character, Larsen. These differing sounds all pull together to make for one of Korngold’s most arresting scores.
The CD would have been a godsend with just the score, but also included is the music compiled for the trailer. Here Korngold went back and reused a theme from THE PRINCE AND THE PAUPER to open the trailer before moving into material from the new score. Also included in the body of the score material is music that was cut from a 1947 re-edited version of the film. And, Gamba adds in the suite from ROBIN HOOD as icing on the cake. It will be the latter that may have the most recognition for the average listener and what a surprise and joyful discovery they will have when they play this entire!
THE SEA WOLF is essentially played without any "pause" from track to track giving it the effect of a long symphonic poem and enhancing the overall appreciation of the music. This is a classic score given an unbelievable chance on perfect sound and fantastic playing that makes it one of the best Korngold CDs ever. Noted Korngold historian, Brendan G. Carroll provides informative notes. (There are no track-by-track listening guides as some have come to expect in other releases of classic scores.)
Though many of the Chandos film discs have not passed through here for review, they are all worthy additions to the discography and worth exploring to discover a richness of film music by many lesser known, at least in the US, film composers.
This release could not come more highly recommended!
--Steven A. Kennedy, 22 November 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
23 Tracks (Playing Time = 67:31)
Music and lyrics composed by Mel Brooks.
Album produced by Doug Besterman. Musical direction and vocal arranging by Patrick S. Brady. Dance and incidental music arrangements by Glen Kelly. Orchestrations by Doug Besterman and Larry Blank. Featuring Nathan Lane, Matthew Broderick, Uma Thurman, Will Ferrell, et. al. Score recorded and mixed by Frank Wolf. Music edited by Missy Cohen. Music recorded at Right Track Recording. Music mixed at Sony Music Studios and Signet Sound Studios. Album mastered at Sony Music Studios by Mark Wilder. Art direction and design by Ryn Maartens.
Sony Classical 74691
Rating: *****
Back in the 1990s, I found a copy of Mel Brooks’ 1968 film, THE PRODUCERS. I was ecstatic as I think this is one of his best films. Of course, convincing friends and family of the same was difficult. So I could not have been more pleased when the Broadway production took the world by storm back in 2001.
Now it’s time for the film to come to Hollywood. Most of the country will still have to wait to see the film adaptation of Mel Brooks’ musical THE PRODUCERS since it will not open nationwide until next year. Until then, Sony has released this CD of selections from the movie versions of the phenomenal musical. Many fans will already own the superb Broadway cast recording (available on Sony SK 89646). The new release will not be entirely redundant but will be interesting to compare versions both of vocalists and the reworkings necessary to bring the show to the big screen. It is hard first not to laugh at the irony that one of Mel Brooks’ funniest films about making a flop, would become one of the most awarded and successful Broadway shows of the new millenium. And now it returns to the screen with a few cast changes among them being Will Ferrell as the Nazi playwright, Franz Liebkind, and Uma Thurman as the luscious secretary, Ulla.
For the film version, Brooks has provided a couple of new songs, one of which is a new arrangement for Liebkind called "The Hop-Clop Goes On." Also new is "There’s Nothing Like a Show on Broadway" performed by Nathan Lane and Mel Brooks. There are some things missing from the cast album. "The King of Broadway" is tacked on at the end of the disc as a "bonus." Some additional changes from the cast album: "Springtime for Hitler" is "shorter and split into two tracks separated by "Heil Myself;" "Where Did We Go Right?" is not included; "Prisoners of Love" is in two versions but shorter than the duet from the cast album; included here is "You’ll Find Your Happiness in Rio." This then makes it somewhat necessary to have both discs in hand.
The orchestra has been filled out a bit more for the film with what sounds like a larger string section. The voices have a warmer quality to them but the energy is still all there and Lane and Broderick are in top form here. While Ferrell is a great choice, it is still hard to beat the great Kenneth Mars from the original film. Timings differ slightly from the original as well but nothing perceptibly so and all befitting a film presentation that will soon make it to DVD in the coming year in its entirety anyway. But this disc plays like one of the great MGM or Fox musical adaptations of half a century ago while still maintaining its Broadway sound.
This disc is less redundant than the recent release for the film version of RENT and it is a superb accomplishment. The characterizations have had a few years to solidify and while some of that edginess is gone from that "new" music feel of the Broadway recording, it still is worth adding to your collection as one of the better-recorded albums of the year. Dare I say, "Here we go again"?
--Steven A. Kennedy, 1 December 2005
Comments regarding this review can be sent to this address: stev4uth@hotmail.com
And another view...
Rating: ***1/2
I share some of Steve's opinions about this popular musical, but also believe it's an uneven soundtrack.
For me the original 1968 film with Zero Mostel, Gene Wilder and Kenneth Mars remains the funniest and most inspired version. But this soundtrack of the film musical based on the Broadway show is well performed, especially by Nathan Lane. Matthew Broderick. Will Ferrell and Uma Thurman are less good in their singing portrayals.
Even with the Mel Brooks tendency for bad taste--like his overdone ridicule in "Keep It Gay"--this is still a very good soundtrack. There are some fine songs here, like "That Face"(track 9) and the full version of "You'll Find Your Happiness in Rio"(track 15). But then the next song, "Betrayed," is crude and another example of Brooksian vulgarity. The songs from the 1968 film, "Springtime for Hitler" (tracks 12 and 14) and "Prisoners of Love" (track 18) remain two of the funniest parody songs in the musical.
So I'm not totally satisfied with this soundtrack musical. It fluctuates between big Broadway production numbers and short throwaway songs, like "You Never Say Good Luck on Opening Night"(track 11) and "Heil Myself"(track 13). And the Overture is only 0:46!
The bonus song at the end of the soundtrack might be what some think of Mel Brooks...as "The King of Broadway." But I think another of the songs is a better description:"I Wanna Be a Producer" (track 4, 6:15).
This soundtrack is worth having if you like a loud and very sassy musical.
--Roger Hall, 1 December 2005
| CD Release
of Special
Merit |
The Ultimate Movie Music Collection
CD One - 14 Tracks (Playing Time = 56:03)
CD Two - 15 Tracks (Playing Time = 57:55)
CD Three - 15 Tracks (Playing Time = 58:48)
CD Four - 16 Tracks (Playing Time = 61:23)
Performed by Cincinnati Pops Orchestra, conducted by Erich Kunzel. Compilation Producers: Holgar Wemhoff, Kajo Paukert, Bernhard Roessle, Elaine Martone. Compilation Mastering and Editor: Erica Brenner, assisted by William Allen.
Telarc 4CD-80700
Rating: ****
For those who have been following the career of Erich Kunzel and his numerous recordings on Telarc, this is indeed a treasure box of great film themes and suites. It could just as easily be called "Erich Kunzel's Greatest Hits." With 60 tracks on 4 CDs, there's one familiar theme after another, from GONE WITH THE WIND to the STAR WARS films. These tracks are re-issued from 14 previous Telarc releases by the Cincinnati Pops Orchestra under Kunzel's expert direction.
The first CD begins impressively with "The Imperial March" from THE EMPIRE STRIKES BACK (2:50). That is followed by another John Williams classic, the Main Theme from JURASSIC PARK. In fact Williams is well served on the 4 CDs, as he should be, with 12 tracks devoted to his film music. Among the other composers with more than one track are: Jerry Goldsmith (3 tracks), James Horner (5 tracks), and Max Steiner (3 tracks).
Also on the first CD are several less represented but deserving themes such as Henry Mancini's Theme from THE THORN BIRDS (3:05), and Bruce Broughton's Suite from MOONWALKER (4:30).
The second CD has many familiar themes like "Bicycle Chase" from E.T. (3:50) and Bill Conti's Theme from ROCKY (2:27). Once again there are several less well known themes such as the Angelo Badalamenti's Love Theme from COUSINS (2:47) and Alan Silvestri's wonderful End Credits music from CONTACT (3;56), a vastly underrated score.
On the third CD, this same pattern is continued with familiar tracks including Max Steiner's classic "Casablanca Suite"(5:38) and his best known "Tara's Theme" from GONE WITH THE WIND (3:31). Also James Horner's Main Title from THE MASK OF ZORRO (4:16)[see above review]; and Jerry Goldsmith's lovely "Carol Ann's Theme" from PLOTERGEIST (3:54), featuring the School for Creative and Performing Arts Chorale, Deborah Berry, director. There are also a few pop oriented tracks without vocals, like Enya's "Book of Days"(3:21) from FAR AND AWAY (arranged by Crafton Beck) and the Finale from VICTOR/VICTORIA (4:50). There is one wasted track, the brief special effects "Don't Mess with Z" (0:15), originally on the Mega Movies Telarc CD . It doesn't connect to anything and sounds more like a defect on the CD.
The final CD leads off with another SPX, "Iceberg"(0:43), which leads into the the mega blockbuster hit score theme by James Horner, "Back to TITANIC" (4:51). Other very familiar ones include Maurice Jarre's "Lara's Theme" from DOCTOR ZHIVAGO (5:44), Francis Lai's Theme from LOVE STORY (2:30), and the John Williams scary Theme from JAWS (2:24). There is another special effects track, "The Apollo 13 Mission" (1:36), and it leads into a theme from the film, "Re-Entry and Splashdown" from APOLLO 13 (4:34). Just like the first CD opened with a familiar theme from a STAR WARS film, the fourth CD ends with an excerpt from the first film made in the long-running George Lucas series: "Throne Room and End Title" from STAR WARS IV: A NEW HOPE (7:45).
While you may already have some of the individual Telarc CDs with the Cincinnati Pops under Erich Kunzel's leadership, this is still a recommended compilation of "movie music."
The packaging is well done, with each CD in its own separate plastic case that folds open. The insert booklet lists the tracks from the individual Telarc CDs. The CD tracks are listed both on the CD box and the outside slipcase. That's a handy duplication and something other record companies don't usually provide. The art design is bright and colorful as is appropriate to this grand celebration of previous Kunzel and the CPO releases.
This is one time when "ultimate" is an appropriate term to use for a movie music collection.
This Telarc 4 CD set is indeed the "ultimate" in listening enjoyment!
An excellent production and a real bargain, with 4 CDs sold for the price of 2.
--Roger Hall, 8 November 2005
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2005.
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