A Happy Tune - The King and I at the Albert Hall

I do love a good show; whether it’s a live orchestra playing, well, anything frankly, a talented singer doing what he/she does best, or indeed a glitzy Broadway/West End show. The latter took me further west last night - Kensington in fact - where Rodgers & Hammerstein’s sumptuous musical The King and I is currently enjoying a lavish revival at the Royal Albert Hall. It’s only the second time the glorious Victorian arena has staged a full blown musical – the first time being the Tenth Anniversary production of Les Miserables back in 1995 – and once again the hall was brought vividly to life with music, dance and colour. Of course this show is one of the old school Broadway spectaculars of the 1950s, the pair’s fifth ‘modern’ musical together, and like Oklahoma!, South Pacific and The Sound of Music, it’s littered with memorable melodies, larger than life characters and oodles of charm.

Leading a large ensemble cast were Maria Friedman and Daniel Dae Kim – as Anna Leonowens and The King of Siam – while fine support was given by the likes of well known screen actor David Yip and soprano Jee Hyun Lim, not to mention the many other faces and voices of the royal household. Miss Friedman is of course one of the stage’s brightest stars and she shone brightly in this perfectly cast role, in fine voice and emitting a wide-eyed warmth in a series of elaborate dresses. Mr Kim, most recognisable from TV’s Lost, made his London stage debut with this show and while he was by no means the strongest singing voice in the cast, he won us over with a charming and at times humorous portrayal of a man courting the modern world, but one who refuses to bow down to it. From their first moments together on stage I found it hard to imagine that the pair would gel and become a believable duo – but that’s the point of the story I suppose, they’re as opposite as opposites can be and the feelings between them are buried way beneath the surface. Later the bristles soften of course and their joint success at impressing the British envoy and his party, celebrated with a joyous dance lesson was truly delightful, not to mention their emotional, but understated parting.


Of course the Albert Hall is not a theatre per se, and so this production was performed ‘in the round’, the actors performing in the centre of the hall with the audience surrounding them. The setting of a musical in this way is quite a different experience for both performer and audience member alike, as for the former the space and direction of projection is increased and for the latter the performance is that much more immediate – for some it was literally right before their eyes. It was a challenge for sure, particularly for those creative minds tasked with staging the show and creating the world before us. When you’re being seen from all angles there really is nowhere to hide and the team can be congratulated not just for creating a lavish setting – replete with bodies of water, boats and indoor fireworks – but also for doing it relatively conservatively. Don’t get me wrong, there was bags of opulence in the Siamese Palace, but the use of space and the change over between scenes was well executed and required little fuss. There is definitely a weightier focus on performance and costume when there isn’t a myriad of backdrops and moving scenery and in this case it was a real winner.

This was my first viewing of this particular show and I went into the hall imagining all the music would be new to me; that was naïve of course as I instantly recognised many of the songs. Staple repertoire fillers such as I Whistle a Happy Tune, Getting To Know You and Shall We Dance? were instantly recognisable, while Hello, Young Lovers and I Have Dreamed were new to me and I shall certainly seek them out and listen to them again. The latter saw beautiful performances by Ethan Le Phong and Yanle Zhong as the young lovers Lun Tha and Tuptim, who cannot be together as she ‘belongs’ to the King. Le Phong was especially impressive and he would have made a fine King – I’d like to have seen/heard him perform A Puzzlement, the King’s big number, which was probably the weakest song in the show sadly.

Dance of course played a role in the show and the set piece for choreographer Susan Kikuchi was the performance of The Small House of Uncle Thomas, during which Princess Tuptim addresses her hatred of the King through her interpretation of an American story about slavery. To be honest this part was a tad lengthy and it was easy to lose focus – a casualty of the ‘round’ setting perhaps, being that the effects had to come from props and lighting on the ground, rather than the all encompassing and changeable surround of a proscenium stage.


Performing the music on the stage proper – though cloaked behind flowing drapes and ornate columns – was the Royal Philharmonic Concert Orchestra, conducted by seasoned Musical Director Gareth Valentine. The usual acoustic was somewhat dulled by their shroud – though to be fair it was the voices that were the main focus here – but they did a wonderful job as ever. The score represents one of Richard Rodgers’ finest and most incandescent, with the March of the Siamese Children being a wonderful musical set piece and highlight as Anna meets each of her new pupils, just some of the King’s many heirs. The children themselves were warmly received and each turned in a lovely performance – though at times it seemed Prince Chulalongkorn was lost somewhere between Hackney and Bangkok, as his accent flitted between the two quite often. Neither he or young Louis – performed here by Tony Nguyen and Lewis Cornay – were given their chance to shine vocally as their song, the Reprise of A Puzzlement was excised from the show for reasons unknown. Of course I wouldn’t have known otherwise having never seen the show before, but my companion actually played the part of Louis in the 1990/91 production (starring Susan Hampshire as Anna) and so he immediately drew my attention to it.

Richard Rodgers and Oscar Hammerstein II rejuvenated the Broadway stage with shows like The King and I in 1951 and this week it’s happening all over again with this gilded spectacle at the Royal Albert Hall. This is a rare opportunity to experience musical theatre as never before and while the likes of Hairspray, Avenue Q and Wicked are perhaps more flavour of the month with the younger generation, they owe their existence to shows like this. The old ones really are the best and no mistake.


The King and I is at London’s Royal Albert Hall until June 28th. Tickets are still available priced between £21.50 and £62.50. Group discounts and hospitality packages are available. Visit www.royalalberthall.com for further information or ring 020 7838 3100 to book tickets.

With huge thanks to Jodie Jenkins at the Royal Albert Hall.

On The Desk III

My desk is almost tipping over under the weight of CDs at one end, so the toy TARDIS has had to move to the other end to keep things on an even keel… Of course I jest (though, not about the TARDIS). The in-tray is somewhat heaving though at the moment and so I feel it’s time to give some time to more albums that are ‘On The Desk’…

First up and well overdue for a mention is La La Land’s release of Lisa Coleman and Wendy Melvoin’s music for the hit NBC drama Heroes. Now I am about to commit a cardinal sin and admit that the entire phenomenon has passed me by (yes, terrible I know). I understand it’s rather good… (understatement of the decade perhaps) It’s certainly popular and the series has made stars of its, well, stars, spawned a committed fan following, and a top selling soundtrack album to boot. While the hip ‘n trendy tracks add much (to the record companies wallets no doubt), it’s the contemporary licks of Coleman and Melvoin that give Heroes its real voice and musical identity. The album from La La Land appears at first to be somewhat thin on the ground – with just ten tracks – but the majority of the selections go way past the five and six minute mark. Yes it’s something of a suite frenzy, arranged by the composers to reflect each of the series’ main characters and ending with a couple of set piece moments – including ‘Kirby Plaza’ from the finale of Season One. So, as the composers’ state in their nicely personal sleeve notes, each character is given their own ‘overture’ of sorts. But don’t get me wrong, there are no grand gestures here, no big themes; instead a sort of chillout set which re-creates the atmosphere of the show. ‘Claire’ offers a glimpse of a main thematic on piano – and a good one at that – echoed in parts of ‘Sylar’, while both he and ‘Mohinder’ are painted with Satie-esque piano hues. The selection is of course awash with synthetic textures, some airy, some industrial and all very listenable in their own ways. Not a groundbreaking, ear-shattering, pulse-racing selection by any stretch of the imagination, though fans of the show are sure to lap it up.



Up next – and staying with La La Land Records – is John Murphy’s take on The Last House on the Left, the latest Hollywood Horror makeover from Rogue Pictures. Wes Craven’s 1972 original – indeed his directorial debut – paved the way for countless films that followed with its gritty ‘realism’. The impact, however, is somewhat diluted all these years later and the film represents probably one of the titles most in need of a re-hash. And so fast forward to 2009 and Dennis Iliadis takes the reigns on this suped-up, sexier version of the story, which sees a family holiday home invaded by a violent gang who find themselves suffering at the hands of the angry parents of their victims. It’s all rather unpleasant of course, but the score manages to rise above mere shock and spatter, instead offering a mature take on the emotions running high throughout. ‘Saving Mari’ and ‘Going to the Guest House’ offer typical horror tones and general unease, while the likes of ‘After the Assault’ and ‘The End’ see more tonal ideas, achieved with solo piano – particularly in the latter. Murphy is no stranger to the darker side of film, thanks to brilliant turns in 28 Days Later and its follow up 28 Weeks Later and with The Last House on the Left he applies subtle atmospherics to a largely orchestral score, creating a bristling balance of light and shadow offering far more than your average horror score.

As I’ve touched on before, composers often feel inclined to send me promotional material of their latest work and I was delighted to receive a couple of discs from British composer Jennie Muskett. Jennie is one of the UK’s little known shining lights, having provided highly imaginative scores for small documentaries, prime-time television series’ and glossy Hollywood films alike. She is well on the heels of current trends and strives to keep on top of technological developments – with that in mind you can always count on Jennie for an immediate sound, straddling the genres of contemporary digital music and traditional classical approaches. Most recently the composer delivered Compulsion, for the ITV film drama starring Ray Winstone and Parminda Nagra. It’s an atmospheric and at times darkly sensual score, featuring deliciously exotic colours and a well-honed contemporary edginess. I’m always impressed by Jennie’s music and am always left wanting more – I think there’s still a lot remaining for her to achieve and she has well and truly set herself up to become on of the UK’s major voices on screen.


Finally to one of MovieScore Media’s most colourful releases in a while, Darren Fung’s Just Buried. The film is a darkly comic look at funeral homes, as a young man inherits one such establishment only to find the young female mortician he falls in love with is doing away with the locals to keep the ailing business afloat. Taking its lead of course in many respects from the likes of Six Feet Under and Pushing Daisies - the lighter side of death has certainly been in vogue of late – the film is given life (ahem) thanks to a delightfully perky score by Darren Fung. Eclectic is something of a buzz word when it comes to this type of score, but it truly fits Just Buried as Fung has arranged a frisky melange of instrumentation to create a bustling musical accompaniment. Headed by piano, we’re well and truly in Thomas Newman territory in many respects, but more playfully so I feel. The scampering pizzicato, glockenspiel, strings and cimbalom that skip through the likes of ‘Vehicular Manslaughter’ are immediately likeable, and indeed infectious, while the pseudo-gothic classicism found in ‘Pickles Has The Stick’ are both tongue-in-cheek and brilliantly applied. The track titles alone here are enough to raise a smile – and an eyebrow perhaps – each perfectly exhibiting the type of film this is. Personal favourites are ‘I Dropped a Mini-Van On Him’ and ‘You Screwed My Dad!?!?’ – need I say more. Joking aside, both cues offer some of the more dramatic brassy moments on the disc - the latter seeing an amusing shift on the wedding march. This is a delightful score and no mistake – a real breath of fresh air for the ears.

Heroes (LLLCD1091) and The Last House on the Left (LLLCD1092) are both available from www.lalalandrecords.com, while Just Buried (MMS-09003) is available on CD via www.screenarchives.com and as a download from the usual platforms. For more information visit www.moviescoremedia.com.

If you’d like to know more about Jennie Muskett then take a look at her newly launched website where you can see and hear what she’s all about – www.jenniemuskett.com.

With thanks to Beth Krakower at Cinemedia, Mikael Carlsson at MovieScore Media and Jennie Muskett.

By George! - George Fenton and the LSO

I’ve mentioned my early obsession with television theme music when I was growing up; I’d sit with a tape recorder next to the television set and record tape after tape of themes. Of course I had favourites and it has transpired that many of them were composed by people I’ve since had the pleasure to meet, get to know, and whose music for the big screen I admire still. George Fenton is one such person whose career began on that box in the corner of the living room and his music for the likes of Bergerac, Telly Addicts and countless BBC News themes and stings most certainly appeared on my cassette tape ‘compilations’. George is an absolute gentleman and with an enviable career as a screen composer; he is without doubt one of the largely unsung heroes of film music. His early collaborations with directors like Richard Attenborough and Neil Jordan, followed swiftly by those with Ken Loach, Stephen Frears and Andy Tennant have allowed the composer a lingering presence on screen, with assignments on boths sides of the Atlantic. His music, I find, is consistently good; it’s thematic, listenable, strong and varied – which is the hallmark of a great composer. Any film is in safe hands when George Fenton is on board.

Last night George was able to present a selection of his works at London’s Barbican Centre, with more than a little help from the London Symphony Orchestra. Ever humble, the composer/conductor seemed truly honoured to be able to stand before the illustrious band. The orchestra last worked with Fenton in 1993, performing the score to Attenborough’s Shadowlands and so it was something of a long-overdue reunion. From the podium, the composer presented his own music in his own understated way; this wasn’t a big showy event by any means, instead it was a safe and strong presentation of just really very good music. It was the personal touch that gave the evening a sense of warmth and intimacy, with George leaving the podium himself to bring on his soloist guests at times.

It must have been a difficult concert to programme, mainly because of the wealth of material composed over the last thirty years or so. That said it was a fairly inclusive set-list, with just a touch of the composer’s early small screen gems presented in a trio including the themes from The Jewel in the Crown, The Monocled Mutineer and The Blue Planet. The latter was of course the most recent of that selection and one of George Fenton’s biggest triumphs, the music itself being performed in its own concert tour in recent years. With that in mind it’s understandable that there wasn’t more from the groundbreaking BBC series being played at this concert – though a performance of ‘Sardine Run’ would have gone down very well I think.

The film selections that made up the majority of what remained took in many highlights and key collaborations in George’s career so far, with emphasis on his variety of style here and there. Sweeping, orchestral romance was a firm fixture with suites from the likes of Ever After and Stage Beauty whisking us off our feet, while the likes of China Moon and Land and Freedom offered more contemporary orchestration choices and Spanish hues respectively. The brass and percussion were able to exhibit their famously fine voices throughout, with Valiant being a brilliant second half opener, while first half closer Land and Freedom was positively Herrmannesque in places with crashing brass chords and all kinds of jarring harmonies.

As I said, soloists played a key role on the stage and the second half saw some stunning performances by Martin Robertson and Andrew Findon who took on the likes of Duduk, Chinese flute and Irish pipes in selections from Planet Earth (itself a moving suite), Beyond the Clouds and one of my all time favourite Fenton scores, High Spirits. John Parricelli and Tom Howe did the honours on acoustic guitars for Dangerous Beauty, a lovely suite and another highlight for me personally as I’ve enjoyed the score on album for many years (though I didn’t recognise the title in the programme as my album is called A Destiny of Her Own).

Singer Nicola Emmanuelle provided an edgy vocal for Le Vampire, a standout moment from the first half. The music was composed by Fenton for Neil Jordan’s 1995 film Interview With The Vampire, though it was replaced with a score by Elliot Goldenthal… It is a classic example of ‘why on earth?’ as the music is simply brimming with gothic romance and fire. I am a fan of the replacement score though, which is perhaps slightly edgier still; certainly more chaotic, but no less romantic in my view. Emmanuelle returned in the second half with a group of singers for the finale piece, from Richard Attenborough’s 1987 apartheid drama Cry Freedom. The music was a tour-de-force which saw the conductor leave the podium to perform piano and ‘mumble’ (as he put it) the end title song he wrote at the last minute at Attenborough’s request. It was a stunning end, with the voices of the passionate vocalists ringing out over the orchestra and the rhythm section inspiring many a toe to tap in the audience. George returned to the podium to bring the ensemble together (though they never missed a beat without him) for a thrilling cadence of percussion, brass and voices.

While my companion and I were sad not to hear a burst of Newsnight or The 6 O’Clock News as an encore (appeasing ourselves by humming it all the way to the pub), we did leave in no doubt that George Fenton is one of the industry’s strongest voices, and a composer who is sure to do marvellous things with music for a long while to come. Come on George, release a compilation album and include a few bonus tracks of news stings… please?


With thanks to Dvora Lewis PR.

On The Desk II

In my in-tray this week – and indeed On The Desk – is a steadily growing pile of CDs which I’ve sadly had to ignore due to other commitments of varying interest. That said, there has been time to sample a handful of delights this week, including one of the more anticipated scores of the ‘Summer’.

Indeed, Hans Zimmer’s follow up to the scintillating gothic-fest that was The Da Vinci Code – Angels and Demons – has graced my ears a number of times since I hungrily grabbed it from the FedEx man’s clutches last week. Zimmer frames (!) Ron Howard’s scaled down religious thriller in a similar musical shroud to that of their first Robert Langdon ‘adventure’ though, like the movie, it feels somewhat more focused. The single location and smaller ensemble (casting wise) means there is far less to get confused about, and fewer bases to cover for the composer. With that in mind – and continuing a trend somewhat – the composer presents his lengthy score in just a few tracks, nine to be exact. Yes it’s the kind of album that will send some people completely mad as it is impossible to know what you’re listening to in relation to what you heard in the film.

This is a classic album production for the composer/producer, with all-encompassing track titles such as ‘Air’, ‘Fire’ and ‘503’ giving absolutely nothing away. Is that a problem though, really? Well I’m on the fence I suppose – as I’ve mentioned in my blog before, back in the day composers would record the soundtrack album specially and call it ‘Music from the Motion Picture’, thus creating a rounded listening experience and musical titbit for consumers to enjoy. Arranging and splicing score cues into lengthy suites – as Zimmer does here – is equally maddening for some, but like the ‘Music from’ albums it somehow captures the work in a neat little designed package. I watched the film having heard the album and immediately knew that the disc bore no relation to what I was watching, and in some instances I picked out perfectly nice cues that weren’t on the disc (such as a rather nice boy soprano solo for an early scene at the Vatican). The music in the film is immediate, sometimes relentless and – as my friend commented on leaving the cinema – rarely gives you time to breathe, so constant is its ascension to a seemingly unending precipice (that’s BeekBlog guff for Cliffhanger).


The album then opens with the end credits music – titled ‘160 BPM’, which is possibly how fast the audience’s pulse is racing by the time the cue ends. It is a brilliant album opener – despite being the film closer – and pretty much overshadows everything that follows. The rhythmic patter of the faux pipe organ, incessant drums and ecclesiastic choir all soar above quite a kitsch, almost 80s electronic beat. It’s all very Hans Zimmer though and is somewhat refreshing in a bizarre way; we’ve heard so much from his cohorts and protégés that you really do forget – as a colleague put it to me – how bloody good Zimmer can actually be. This track shows him on fine form indeed and I’d quite happily rate the entire disc on this piece alone; it left me breathless. There is another forty or so minutes of music left though, so I’ll try not to peak too early, even if Hans did. With ‘God Particle’ we get some of the music from the opening of the film as a familiar motional string line precedes Zimmer’s simple climbing theme from The Da Vinci Code, this time given life by violinist Joshua Bell. The instrument – and performance – gives it a matured and more emotive feel. It’s a strong thematic though and is warmly welcomed back, along with the threat motif from the first film. Initially associated with the shadowy monk assassin, it is used here for the similarly shadowy clergy-killer. Both thematic threads rear their heads amongst a sea of programmed loops, atmosphere and choral hue (‘God Particle’ quickly disappears from the memory by the way after Bell bows out). Bassy chords, shrieks and all kinds of eerie patter remind me of Hannibal, as Da Vinci did in places, with the grandiose choir and creepy pipe organ found here and there, for example in ‘Air’ and ‘Fire’, raising the hairs rather successfully. Bell returns in the latter, alongside all kinds of shimmer and twinkle, creating a rather mystical sheen before atmospherics take over once again.

The production design here is pretty special to be fair and you can’t fail to be impressed by the depth and nuance created by Zimmer and Co. There’s further excitement in ‘Black Smoke’ with much percussive wizardry and a return to the ‘160 BPM’ sound, while things calm down a little in ‘Science and Religion’ and the bassy ‘Immolation’. All in all it’s a very glossy soundtrack album which concerns itself more with a listening experience, rather than the original intent of the music in the film itself. A gripping listen... mostly.

Another shadowy film to turn heads in recent week is Tomas Alfedson’s gothic drama Let The Right One In. With a score by Swedish composer Johan Soderqvist, the atmospheric story about a bullied boy who befriends a young female Vampire has been winning over viewers the world over. While it is a visually beautiful piece of work, a lot of the film’s impact comes from the music by Soderqvist, who supports the story with a brilliantly balanced score that both lurks in the shadows and casts a melodic light on the unlikely friendship that blossoms between Oscar and Eli. MovieScore Media released the music on limited edition CD, and as a download, and their album presentation is a generous one that takes in many highlights, including the graceful, yet hugely emotive ‘Eli’s Theme’. Other standouts include the sweet piano-led ‘Then We Are Together’ and the gorgeous guitar take on Eli’s theme in ‘Going Home’, while darkness enraptures in the likes of ‘The Slaughter’ and ‘Virginia in Flames’. A fine album of a very fine score.


Finally, and adding a splash of colour to my pile, is the very yellow-sleeved Shifty. Released by Silva Screen Records, the British indy drama about two friends reunited after four years having gone down very different paths, was treated to a very listenable contemporary score by composing team Molly Nyman and Harry Escott. A small ensemble piece – performed by The Samphire Band – it feels wonderfully fresh and appealing, with a street-ish vibe that doesn’t alienate. The touch is really very light, with a slight electropop edge in the likes of ‘Busting My Ghaand’, while piano and guitar perform repetitive patterns in ‘Charming Glen’ and ‘Leave It All Behind’ (with Violin). The influence of Nyman’s composer-father is evident in this respect, but the younger Nyman takes his lead and runs in her own direction with well conceived edginess and colour. The final score cue ‘Play The Tape’ continues the feeling of ‘Leave It All Behind’, but with added percussion and is a definite highlight and an all encompassing example of what Molly and Harry have achieved here. All in all it’s a surprising listen, and not at all what you’d imagine from the subject matter; in fact the film itself has surprised many offering one of the most real portrayals of a heterosexual relationship between men seen on screen, not to mention the contemporary take on Islam. For those reasons Shifty has been celebrated, and the music should be too.

More On The Desk coming soon, including La-La-Land’s Heroes score album, John Murphy’s The Last House on the Left and a look at the recent music of British composer Jennie Muskett.


Angels & Demons is in cinemas right now, with Hans Zimmer’s score available on Sony Classical. Let The Right One In is still doing the rounds on screen in the UK and Johan Soderqvist’s engaging score is available on CD from Screen Archives.com and as a download from the usual places. Visit www.moviescoremedia.com for more information. Finally Shifty is available on CD and as a download from www.silvascreenmusic.com. Check it out.

Music on a Knife-Edge: Psycho LIVE

While I’m yet to see all of his films, I can say with my hand on my heart that I am a Hitchcock fan. I remember going to the cinema – The Watershed in Bristol to be exact – eleven years ago to see a film which would have a huge impact on me for years to come. To this day Psycho is my favourite film, for various reasons, and last night I was able to experience it on the big screen for a second time at Notting Hill’s glorious Coronet Cinema. That experience in itself would be enough to write home about – or indeed to blog about – but Hitchcock’s visual masterpiece was brought even more vividly to life with its groundbreaking score by Bernard Herrmann played live.

In what was essentially a brilliantly conceived, though wonderfully random promotional event, Sky Movies laid on the film and music as a way of launching their new Hitchcock Season. With that in mind it was very much a private affair, with a scattering of tickets given out to prize winners and alike, with the rest dished out amongst interested and related parties, not to mention a handful of ‘celebrities’ (I use that in the loosest sense of the word and although the names Gabriel and McCartney were mooted, sadly I only happened upon Who Wants To Be a Millionaire host Chris Tarrant). I was fortunate enough to come under one of those categories (and no I didn’t win a competition) and took my seat, clutching my gleefully acquired complimentary drink and sweets, thinking I knew full well what to expect. I was entirely wrong… well, mostly.


Twenty or so string players from The London Soundtrack Orchestra (formerly known as The London Ensemble) did an admirable job of hacking away at Herrmann’s busy, rhythmic and always thrilling music, with conductor Ben Foster at the helm. It was quite a task and Ben steered them through cue after cue, sometimes with as little as a second or two to breathe before the next onslaught. Obviously it was a slightly smaller ensemble than we might be used to hearing play this music, but that didn’t mean it was any less impressive or immediate, in fact it was downright startling in places.

The clincher was always going to be the shower scene as blade meets flesh (or does it?) to the shriek and hack of those immortal glissando notes. It was this moment that shook me out of my otherwise state of quiet enjoyment. This scene was always meant to shock of course, but after years of seeing it on the small screen, the sharp edge has gone a little blunt… not so last night. With the music being played right before us, the intensity of that famous scene was dialled up to max and it was almost heart stopping, while the enlarged screen meant the eyes of the killer – shrouded in inky shadow – shone out larger than ever. The moment leading up to the frenzied attack was given extra atmosphere with the low rumbling of a passing tube train far below us. What a thrill.


Another reason it’s great to see a classic film in the cinema is the audience experience… Moments that you laugh at on your own, are funnier still, while moments that make you catch your breath are even more breathless – the scene where Lila is frightened by her own reflection in Mrs. Bates’ bedroom was one such moment and everyone laughed nervously at how much we had jumped, helped along of course by our musicians’ on-the-nail performance.

Everything about this film is so well considered, from the carefully planned shots and even-tempered script, to Herrmann’s intricately symmetrical musical puzzle. It’s ultimately a very simple film, but it’s no less masterful. The conservative nature of its production gives way to the fact that the story at its heart is simply marvellous, the performances brilliant and it never fails to enlighten me, excite me and make my heart pound. Even more so last night and thanks to that my passion for this film, and its music, has been fuelled once more.

My fellow audience members appeared to agree and with the spine-tingling notes of the ‘Mad House’ motif, as Marion’s car is dragged from the swamp, a wave of applause rang out across the gilded room. Ben Foster and the London Soundtrack Orchestra created a bit of magic in a small corner of the capital last night and for the first time ‘in the history of Planet Earth’ as our host Alex Zane put it. I’m amazed this landmark piece of music hasn’t been performed live to its picture before, but it’ll surely happen again though. ‘Sometimes just one time can be enough…’? Not this time Marion.


Sky Movies’ Hitchcock Season begins on Monday May 25th with screenings of fifteen of the master’s classic films throughout the week, including world premiere HD presentations available on demand through the SkyHD channel. For more information visit www.skymovies.com.

With thanks to Ben Foster.

Rolling out the Classics - Filmharmonic 2009

There is one permanent entry in my diary year after year that I always look forward to and can never bring myself to miss – Filmharmonic. I go along to the Albert Hall knowing fully what to expect – indeed this is my fifth year – as the Royal Philharmonic Orchestra take to the stage to perform some of cinema’s greatest film themes. Before you open the programme you know you’re going to see the words Gladiator, Star Wars, Lord of the Rings, Harry Potter, Mission: Impossible, Superman, Witness and Pirates of the Caribbean. These days you know you won’t see Rocky in the programme, but you know full well that Bill Conti’s rousing fanfare and theme will provide the encore piece. Does any of this matter? I used to think so, but I’ve come to embrace the annual dusting off of the classic film music repertoire. Why? Because it’s just so damned good.

There’s no doubt either that the performance won’t be up to scratch and this year it was largely agreed that the RPO excelled themselves with what I considered a really punchy performance. A few pieces in the past have come across somewhat lacklustre, tired even, but this year they were each performed with a lot of flair and power, particularly Williams’ glorious theme from Jurassic Park (though they still use the score with the wrong note at the start!), the obligatory Superman and Goodwin’s downright brilliant theme from Where Eagles Dare.

A highlight moment for me always comes with the guest conductors and while the producers rarely stray far from their usual contact list, it’s always a nice opportunity to a) see a composer conduct their own music, and b) hear something you haven’t heard live before. Last night saw David Arnold take to the stage at the Albert Hall for the first time in a few years. David would be the first to agree he isn’t really a conductor, but he kept the ensemble together – using a red pencil I might add – and appeared to thoroughly enjoy conducting his perky waltz from The Stepford Wives, an orchestral rendering of ‘You Know My Name’ from Casino Royale and the cue ‘A Night at the Opera’ from Quantum of Solace. While the former Bond snippet was obviously barnstorming, the real highlight for me was the latter dramatic cue and although it didn’t end with much fanfare, it was a riveting addition.

British Film and TV stalwart Debbie Wiseman is a permanent and very welcome fixture at Filmharmonic and she can always be counted on to bring her latest score pages – and a rowdy posse – with her. This year saw her lead the orchestra through a suite from Lesbian Vampire Killers - her most recent film score – preceded by a selection from Tom & Viv – her first. It was a nice touch making those career bookend selections and the former certainly went down well, with members of the film’s team – including director Phil Claydon – offering no end of support from their seats in the Grand Tier. I told Debbie I would make some noise after the suite, but it really wasn’t needed with them in the room! While the film itself has suffered very mixed reviews, there’s no doubt that the music is a triumph. The composer and director make a good team and I’m fairly certain it won’t be the last we’ll see and hear of them together.


As usual a few additional nuggets littered the programme, with a rendering of Ray Parker Jr’s Ghostbusters title song leaving me slightly red-faced in the first half. While it featured very colourful orchestration and some great brass, it was all just a bit embarrassing frankly… I’ll never condone orchestral versions of songs. It really was something weird, and it didn’t sound good, particularly when it came to the point where people would normally shout ‘Ghostbusters!’ – that was left to the brass… oh dear.

What should have been embarrassing at the end of the first half was a selection of American TV Themes and while you’d be right in thinking it’s a bit of a stretch for a film music concert, it actually ended up being one of the best bits of the night. Opening with Bill Conti’s brilliantly applied themes for Dynasty and Cagney & Lacey (which was rightly met with a very big cheer and applause come the end), the ensemble presented Mike Post’s dramatic opener for LA Law, before ending with Jerrold Immel’s infectious Western-tinged theme for Dallas. I was a fan of TV Themes long before I discovered film music – okay, I was about 10 – and these four themes always scored highly for me. I do believe Conti’s Cagney & Lacey is a contender for ‘Best TV theme Ever’, and it was a giddy childlike pleasure to see and hear it played by a full orchestra.

So you see there’s always something to get excited about at Filmharmonic, even if you think you know what to expect. The hall was very full as it always is and when our affable host Tommy Pearson – who did a fine job as usual – asked if anyone hadn’t been before, I was surprised to hear a great many voices shout out. That’s a wonderful thing and indeed another reason why the RPO roll out the classics annually, because there’s always someone who is yet to experience the power of live orchestral music, and live film music at that. More of the same next year – May 14th 2010! Don’t miss it.


You can experience the delights of the Filmharmonic repertoire on a newly packaged triple CD set, available from the shop at www.rpo.co.uk. Visit www.royalalberthall.com for information about the RPO’s next film music concert – ‘The Best of Bond’ – which takes place on Friday 13th November.

With thanks to Doran Harding, Debbie Wiseman and all at the Royal Philharmonic Orchestra.

On The Desk

As a film music journalist and critic I do find all sorts of albums coming through the letterbox. With the prolonged – and indeed unforeseen - absence of Music from the Movies.com, my in-tray is somewhat full of discs I would normally set to work on reviewing for the MftM review column. With that in mind I have decided do devote the occasional blog to those delights – or otherwise – which I find ‘On the desk…’

This week I would like to shine a light on a handful of offerings which have been lingering a bit too long and which certainly need a mention. Ryan Shore is one of the last year’s most exciting discoveries and whilst his family credentials need no more introduction, he has proven himself to be a most versatile and exciting talent. We of course have MovieScore Media to thank for bringing his work to our ears; from the label’s digital release of Headspace sometime ago, through the likes of Numb, Jack Brooks: Monster Slayer and Shadows, the Swedish label – headed by former Music from the Movies Chief Correspondent Mikael Carlsson – has championed the young composer well and truly. It is the latter two titles that have sat in my tray for a number of weeks and each is a credit to Shore, both displaying his fine talents with an orchestra. And they couldn’t be more different in tone; Jack Brooks is a carnivorous symphonic work which sees the Slovak Symphony Orchestra chop away at a ballsy set of cues, each working to enhance the gung-ho and ever so slightly comic visuals. At times Shore the younger has the feel of his Uncle, albeit a little wilder, a little more crazed – evidenced in ‘Tentacles’ and ‘Kicking Ass’ (which he does, and well). With ‘Eve’s Situation’ – a standout cue – he brings about a sense of pure 80s orchestral pleasure, reminiscent of early Horner in many respects and mainly thanks to the bold brass, trigger-happy anvil percussion and undulating snare. It’s a wonderfully robust piece of work all in all, and is a shoo-in for the Best Score award at the forthcoming Fangoria Chainsaw Awards.

A pole apart is Shadows, which Shore scored for Macedonian director Milcho Manchevski last year. The film itself, about a man whose near-death experience sees him having to confront the meaning of his own life, was considered for nomination at this year’s Academy Awards in the ‘Best Foreign Film’ category. Musically it’s a mature, dramatic work featuring some beautiful vocal solos by Janita and wonderfully lyrical lines. The opening title cue sees a gorgeous, lilting woodwind solo over strings, while the score proper is full of mystery, some angst and a lot of beauty. The motional quality of ‘Appearances’ found me thinking of Desplat, with those harmonies running throughout and captivating entirely.

When you realise that Shore is first and foremost a dedicated Jazz musician and composer - with great talents at both – you get the sense that he is just an absolute all rounder and will be able to turn his hand to anything. These two scores alone say so much, with the more intimate vibes of Numb, Kettle of Fish and Coney Island Baby, not to mention his presence in the Streep/Thurman rom-com Prime (released by Varese Sarabande) only increasing the scope and variety of the early part of what is likely to be a very fruitful career in film music.

Composer Neal Acree has been plying away in Hollywood for a few years now, providing music for a handful of primetime fantasy series’ including the Joel Goldsmith vehicles Witchblade and the long-running Stargate adventures. Movie-wise, Neal has impressed with a variety of under-the-radar shockers and thrillers and is due a high-profile break on the big screen. His scores for Juncture, 7 Seconds and Method are prime examples of his talents and while they haven’t been made available on CD officially, I was very pleased to receive a selection of Neal’s own promotional discs to listen to. With Method, he is given a classic murder mystery to play with and provides music that supports not just the bloody aspects of the story (brilliantly displayed in ‘Murder for String Quartet and Orchestra’), but also the faint romance of the central character – an actress, played by Liz Hurley, who gets into her current role as a famous Murderess a little too exactly. With a familiar piano-led vibe, Acree creates a sense of romance and threat – reminiscent of Mark Snow, John Ottman and alike – but very listenable indeed. Juncture sees another strong female character at the forefront, and this time the composer adopts solo female vocals, alongside sampled piano to create an altogether unusual atmosphere, which is definitely the name of the game. Finally 7 Seconds finds a heightened rhythmic sense, samples, loops and guitar work – not entirely my cup of tea, but well achieved and exacting a definite contemporary hue with just a touch of sass.

Finally this week is Enlightenment Records release for Shamim Sharif’s romantic comedy drama I Can’t Think Straight. The film, which sees a young – soon-to-be-wed – Palestinian woman falling in love with a British Indian woman, did the rounds at this year’s London Lesbian & Gay Film Festival and has proven quite a popular title. The soundtrack is an eclectic set of tunes which touches on the vibes and cultures found in the film’s busy plot. Singer/songwriter Nadine Khouri features throughout the line-up, with the freespirited and very listenable sound offering the disc’s highlights. Composer Raiomond Mirza is responsible for the film’s original music and the majority of his cues (mostly songs in fact) feature solo artists, including Khouri, as well as Mena and Leonie Casanova. Casanova’s own track ‘Holy Daughter’ is another treat, with strong vocals and guitar, while Mirza’s only instrumental score offering (‘Love Theme’) fits in rather nicely with it’s sweetly mellow vibe. It’s very much a set-list of strong female vocalists though that make up the album, topped off perhaps by World Music star Natacha Atlas, who adds ‘Kidda’ and ‘Ghanwa Bossanova’ to the mix. A well chosen selection and certainly not your average soundtrack playlist; it ought to do well with fans of the film, of which there are an increasing number.


More ‘On The Desk’ coming soon...


For more information about MovieScore Media releases go to www.moviescoremedia.com, while you can find out more about Ryan Shore and Neal Acree at www.ryanshore.com and www.nealacree.com, respectively.

I Can’t Think Straight is available on DVD from May 4th, while the soundtrack album is available on CD from the usual places. Take a look at www.icantthinkstraight-themovie.com

With thanks to MovieScore Media, Republic Media and Neal Acree.