[30 April 2008]
Arguably, soundtracks are more than simple music. That is, while music itself can be described in terms of compositions, orchestrations, harmonies, melodies, and performances, movie scores also evoke the rather complex synergy that exists between sound and the cinematic image. As such, a soundtrack can only be rightfully appreciated within the context of the movie it accompanies. But then again, there are a few instances where we can listen to a score and still appreciate all its structural and inspirational beauty. This installment of Surround Sound explores a few recently released soundtracks that guarantee a pleasurable listening experience, even if heard outside the movie theater.
Atonement - Music from the Motion Picture [rating: 10]
Dario Marianelli’s Academy Award winning score for Atonement is truly outstanding. Believe it or not, its most salient characteristic is the use of an old-fashioned typewriting machine as a musical instrument (but then again, the legendary maestro Ennio Morricone did something similar in Il Mio Nome e Nessuno [aka My Name is Nobody, Tonino Valerii, 1973], where he accompanied his orchestra with alarm clocks and automobile claxons). Still, most of the score relies on the English Chamber Orchestra, French classical pianist Jean-Yves Thibaudet, and cello prodigy Caroline Dale to create a majestic, romantic, and dramatic underscoring to the film. Furthermore, the compositional style of this soundtrack is at times reminiscent of Beethoven, and it truly conveys a wide spectrum of emotions. For instance, the track “Elegy for Dunkirk”, a mournful composition accompanied by a solemn chorus, not only is the highlight of the score, but also one of the most beautiful pieces ever composed for a film. From depressing sadness to paradisaical happiness, Marianelli’s score for Atonement is a true masterwork that demands to be appreciated on its own strengths.
Youth Without Youth - Original Motion Picture Soundtrack [rating: 8]
Acclaimed Argentine classical composer Osvaldo Golijov provides Youth Without Youth with a truly outstanding score. Golijov’s composition gives Coppola’s film a moody atmosphere of mystery, drama, romance, and suspense. Avoiding the gargantuan orchestrations that are popular in modern Hollywood flicks, Golijov’s music feels kind of retro, reminiscent of the scores written by Max Steiner and Franz Waxman during the ‘30s and ‘40s. Furthermore, Golijov’s orchestration uses rare instruments, such as the Kamanche (a Persian stringed instrument played with a bow) and the cimbalom (an Eastern European instrument that looks like a hammered dulcimer). In addition, even though the movie takes place in Romania, Golijov adds some Argentinean flavor to this films score. Indeed, some of his compositions, such as “Love Lost”, have the same rhythm and instrumentation as the Tango. A beautiful soundtrack, Youth Without Youth offers a refreshing approach to movie scoring.
Hitman - Original Motion Picture Soundtrack [rating: 7]
The effective action oriented score for Hitman was composed by Geoff Zanelli, a member of the renowned Media Ventures (nowadays know as Remote Control Productions). As most connoisseurs know, since the late ‘90s, and under the firm direction of the legendary Hans Zimmer, this group has defined the musical structure of the action genre. In terms of compositional style and performance, Hitman does not offer many musical surprises. At times this music brings to mind the incessant percussions and relentless rhythm that characterizes the Bourne scores, and tracks such as “Train Station” offer action driven orchestrations with a spotlight on strings, percussions, and electronics. In a nutshell, the score for Hitman is loud, uses a combination of orchestra and synthesizers, and although structurally simple, it offers extraordinary moments guaranteed to raise our adrenaline levels.
Into the Wild - Original Score [rating: 6]
The score for Into the Wild was composed by no less than three artists: Michael Brook, Kaki King, and Eddie Vedder. However, while Michael Brook provided most of the instrumental compositions that underscore the action seen in the film, Eddie Vedder and Kaki King provided a series of songs. Thus prospective buyers should beware that there are two different soundtracks available on the market, and the present review is about the one that includes Brook’s inspiring music. With this score, Brook proves to be a great musician with a good sensibility for film scoring. For instance, the unique location of the film is aptly encoded into the music. That is, most of Brook’s compositions rely on harmonicas and guitars to emulate the wild and rural landscape of Alaska. Overall, the score for Into the Wild is structurally simple, but very melodic and elegant.
Broken English - Music from the Motion Picture [rating: 5]
The soundtrack for Broken English mostly consists of a series of pieces composed and performed by Scratch Massive, a techno group created by two famous Parisian Disk Jockeys, Maud Geffray and Sebastien Chenut. The techno music is surprisingly good, featuring rhythmic instrumental tracks that emphasize electronic tonalities and percussions. The track that opens the Broken English album, “In the Dressing Room”, probably is the best on the entire CD and features soft and elegiac female vocalizations. In addition to Scratch Massive’s composition, we also get to hear three good pieces by Juan Trip. The best of them, “A Dreamful of Time”, is mostly based on a rhythmic guitar. Taken as a whole, the soundtrack for Broken English may not be noteworthy in the scoring scene, but nevertheless it provides a good listening experience.
Darfur Now - Original Motion Picture Soundtrack [rating: 5]
Acclaimed composer Graeme Revell has made a name for himself by making scores with unusual instrumentations that generate a musical atmosphere made of tribal, ethnic, and ancestral sounds. That is, avoiding melodies, themes, and motifs, Revell shines in the creation of overwhelming musical backgrounds. And such is the case for his score for Darfur Now. Indeed, most of the tracks on the soundtrack CD feature guitars and synthesizers accompanied with what appears to be native instruments. Nonetheless, the dissimilar sounds produced by Revell’s distinctive instrumentations blend nicely with each other. Overall Darfur Now is a notch above the average music for a documentary, and deserves to be listened on its own.
Persepolis - Original Soundtrack [rating: 5]
The score for Persepolis was composed by Oliver Bernet, and smoothly mixes a variety of sounds and styles. Even though traditional Middle Eastern tonalities are heard throughout the entire soundtrack, we also appreciate delightful guitars playing Spanish and Mexican music, and a strong Parisian flavor. At some points during the film this music is used in a fun way, reminiscent of the scores for the classic Warner Bros. cartoons. And at other times the music is rather majestic, bringing to mind Maurice Jarre’s opulent score for Lawrence of Arabia. Furthermore, the soundtrack includes a new envisioning of Survivor’s “Eye of the Tiger” (featured as the main theme in the unforgettable Rocky III). Arguably, the combination of musical styles in the soundtrack of Persepolis further highlights the cultural conflicts featured in the film.
The Great Debaters - Music Recorded for the Film with Vintage Bonus Tracks [rating: 3]
The instrumental score for The Great Debaters was composed by the versatile James Newton Howard. However, this review is for the accompanying CD that features a generous selection of songs featured in the film. As such, this soundtrack is a mere collection of pieces that appear to combine the gospel, jazz, and blues in a rather rhythmic fashion. Most of these songs are composed and performed by Alvin Youngblood Hart and Sharon Jones. A true mixed bag of goodies, this CD can only be recommended to those die hard fans of these often misunderstood musical genres.