Well here we are again, at the desk and contemplating all things Film Music (and, it goes without saying, More Besides). I’ve had quite an influx this last week or so, passed on from labels, composers, friends and even a few I’ve actually bought myself – which is a rare occurrence these days I can tell you. I still enjoy the rush of buying an album though, particularly if it’s for my collection. This week I filled some gaps in the Horner line-up, so I finally inserted Avatar, The Karate Kid, Jade and 48 Hours in… The Karate Kid, a surprise entry in the composer’s resume last year to be sure, is a great listen actually. I do find James Horner comes out guns blazing when he’s against the clock (many composers do in fact). The album is one of those controversial CD-R releases, made to order so to speak. Do I mind this? Well to be honest I haven’t thought about it along any further line than ‘oh it’s on CD, let me at it!’. I suppose there are some things to consider with the rise of the CD-R album, but I don’t think I have the energy to go into it now. All I know is I’m enjoying the album very much. End of.
48 Hours is an interesting little disc; first time on CD and featuring just about half an hour of Horner’s original score. The film, and score, is as old (or indeed young) as me… So yes it is a little dated here and there, but it represents one of the composer’s really early Hollywood entries (1982 fyi) and shows him in action, non sci-fi/fantasy mode which is seemingly all we know of him from that period. Some subtle electronics linger around the orchestral forces (not massive, but sizeable) and they come together with steel drum (yes, remember that in Commando? It’s the same here, and very similar all round I’d say) creating a rather interesting underscore to the otherwise snappy buddy comedy antics on screen. Horner very much lets the performers (Nolte and Murphy) do their thing and underlines the more serious aspects of the unfolding drama, chases and wotnot. It’s over in a flash of course, but the album goes on with original songs by The BusBoys and one source cue by the brilliant Ira Newborn, who also produced the songs. Good to tick the box though and have the album and it’s a colourful listen when all is said and done.
Last time round I promised The Promise (can one promise a promise?) and so I turn now to Debbie Wiseman’s latest dramatic turn for director Peter Kosminsky. The mini-series has just started on Channel 4 – so catch up if you can – and the composer’s emotional musical underpinning is characteristically on the money. Ebbing and flowing with a well honed sense of drama, Debbie Wiseman’s music is at once even tempered, subtly exotic and always beautiful. The traditional middle eastern instrumentation – including Oud, Kaval, Duduk and Arabic Violin – peppered throughout the cues is well balanced alongside the more usual solo turns from members of the RPO and of course the composer herself on Piano. Following two characters 60 years apart in history, the music is able to straddle both narrative strands allowing Debbie to make even distinctions thematically. There’s a darker hue to some of the flashback moments – ‘The Settlers’ and ‘The Fight’ for example – while the deeper emotion is often found in the cues with the least orchestration. It’s amazing what a solo piano can say… Food for thought and another fine score, plus a very generous album from Silva Screen Records.
Silva also released The Rite by Alex Heffes. Alex is such a great composer, and a jolly nice chap to boot, so it’s always good to hear new things from him. This film, by Swedish director Mikael Håfström stars the oh-so brilliant Anthony Hopkins as an unconventional Catholic Priest who tutors a young seminary at the Vatican’s Exorcism School… Fascinating stuff then, and a robust effort from the composer who opts for largely conventional trains of thought, given the subject matter. There are urgent strings, swathe of chorus, bubbling brass and jolting percussion aplenty, particularly in the exorcism cues themselves. ‘Exorcism of Lucas Part 1’ has a particularly impressive jump-start and builds to a heady fusion of contemporary atmospherics which, when coupled with some snarling brass and eerie choral moments, makes for a textbook gothic horror cue full of shudders. Textbook is often good, particularly when coming from a composer of this calibre and being as we haven’t heard anything like this from him before, it’s not a bad route to take… this is Hollywood after all and as a young, relatively unknown composer, you really need to stay within the parameters of what’s known and accepted by producers, otherwise they might go elsewhere. While Alex has done some great films, this is the first glossy Hollywood entry away from Kevin MacDonald and it’s a great first crack at the big studio nut.
Has Christmas come early, or is it late? La La Land Records’ release of Home Alone has appeared on my desk, at last. Ok so it’s late, the album was released in time for the movie’s twentieth anniversary (I cannot believe I’m writing that…). The film, produced by the late John Hughes and directed by Chris Columbus, has become a festive family classic and it’s music goes a long way to creating that sense of Christmas cheer, familial warmth and comedic caper. This new pressing from the label is just brilliant, with all of Williams’ cues collected together in film order, not to mention versions of his original songs (‘Somewhere in My Memory’ and ‘Star of Bethlehem’, written with Leslie Bricusse). While the original CBS Records soundtrack album (which is normally on repeat in the house every season) captured the heart of the music created for the film, there are a handful of fresh cues here to enjoy, plus some additional music in the shape of source cues (carol medleys and alternates) to make it worth the purchase, not to mention the fact that the 1990 album is very hard to find nowadays… The big draw for me was the booklet which features some great background to the film’s production and the creation of the score. It seems Williams was never considered – Bruce Broughton was credited in early trailers, but had to abandon the project due to other commitments – and it was only when he was treated to a sneak preview screening at Amblin Entertainment that he himself requested to do the picture, so excited was he by it. After all those years at the top of his game, and his name attached to near enough every Hollywood blockbuster in recent history, it’s no surprise Williams had a canny eye for a surefire hit… which it was.
La La Land are very much championing the music of the great John Morris, having release a number of his works in recent times, indeed the label just announced Clue which is fresh off the bat following their release of the brilliant Haunted Honeymoon. A master of pastiche, Morris provided a full-blown orchestral score for Gene Wilder’s 1986 comedy shocker using the talents of the London Symphony Orchestra no less. Wildly scintillating in places and full of fun in others – the main titles as source music for example in ‘Memory Music/Wolfington Castle – Haunted Honeymoon is a comedy score that takes itself absolutely seriously, though with its tongue firmly in its cheek of course! Jeff Bond’s liner notes are typically informative, making for a fine package all in all. With a composer as talented as Morris and an ensemble as mighty as the LSO you just can’t go wrong. Well done La La Land.
Finally I look to The King’s Speech which I’ve finally managed to have a listen to away from the film itself, and what a film. It’s the BAFTAs this coming Sunday night and I’m in no doubt that this film will sweep the board, including a nod for Alexandre Desplat who has yet again delivered a sensitively sparkling dramatic score. There’s charisma here, beauty of course and emotional hues born of subtlety and a lightness of touch we’ve become so accustomed to. While Desplat’s score underlines the majority of the drama, his typically delicate title cue dances around slightly more sombre string passages. Those ‘heavier’ moments (as heavy as Desplat can be when he decorates them so elegantly) lead nicely into the disc’s final selection of Beethoven pieces. Of course the film’s denouement, where His Majesty gives the speech of his life, is underscored by a passage from Beethoven’s 7th which is chock full of tempered emotion it inspired tears by the scene’s end. A fine disc from Decca Records and hopefully an award-winning soundtrack for the composer of the hour.
Next time? Who knows… though I do have a confession to make. I’ve been listening to Henry Jackman’s Gullivers Travels and I’m excited, that’s all I’m saying. More on him next time.
The Promise and The Rite are available from Silva Screen Records now – silvascreenmusic.com – while lalalandrecords.com will take you to all manner of delights, including the Morris scores, Home Alone and their fine releases of Batman Returns and Star Trek V: The Final Frontier…