CD Reviews: Pursued and Madding Crowd
Pursued ***
MAX STEINER
Screen Archives SAE-CSR-0002
22 tracks - 53:40
Screen Archives Entertainment's ongoing restoration series with BYU
has resulted in a series of archival releases that have ranged from long-overdue
favorites (Lost Horizon, The Searchers) to lesser-known, more specialized
titles (Cloak and Dagger). Their most recent effort, Max Steiner's
score to Raoul Walsh's 1947 thriller, Pursued, falls more into the
latter category. However, given Steiner's orchestral style -- overwrought,
if anything, by today's standards -- the score works better on CD than
one might think. Pursued has plenty of moments of typical Steiner bombast
throughout, but there are also instances of buzzsawing tension that transcend
the more dated material. On the other hand, Steiner's familiar leitmotivic
approach is less of an asset here given the other more understated techniques
that he plays with in the score.
Steiner's primary theme undulates in a nicely ambiguous fashion, encapsulating
old-fashioned romance and emotional distress, but the score's most effective
moments come when Steiner dials himself down and concentrates on creepy
atmospheric effects. Always the orchestral sampler, Steiner even takes
a page or two from Stravinsky, particularly with "Feared Vengeance," a
cue that samples a two-note progression that will make anyone who's heard
Jaws scratch their head (said progression becomes something of a
gimmick throughout the score). Like all of Steiner's music, there are a
lot of shifts of tempo and tone (largely dependent on onscreen action),
so a lengthy track like "Jeb Returns" or "Courtship" can suffice as a decent
sampler for the entire affair. Steiner's method of musical saturation (tossing
his themes and techniques around as much as possible) can quickly get redundant
despite some good moments. Fans of this more archaic compositional style
will find this an excellent example of its type; others will find it less
compelling.
As usual with the SAE/BYU releases, the sound quality is better than
one might expect given the age of the material at hand -- the sound is
somewhat muted, but the orchestral effects come through with admirable
clarity. The booklet is a small letdown considering the extravagant packages
that have come before; the liner notes are stale and lack the informative
snap of previous releases. At least everyone's heart seems to be in the
right place. -- Jason Comerford
Far from the Madding Crowd ****
RICHARD RODNEY BENNETT
Chapter III 1005
13 Tracks - 36:39
Richard Rodney Bennett is one of the finest drama composers. He has
a penchant for beautiful tunes, his most recent penned for Four Weddings
and a Funeral. Most may be more familiar with his masterful music for
Murder on the Orient Express, nominated for Best Original Score
in 1974. Far From the Madding Crowd was nominated for a Best Original
Score Oscar in 1968 only to lose to Elmer Bernstein's lesser music for
Thoroughly Modern Millie. John Barry's The Lion in Winter,
which happened to win the next year, makes an admirable companion to Far
From the Madding Crowd.
Bennett emphasizes cor anglais and flute (in the gorgeous main title,
"Fanny and Troy" and elsewhere) to set the mood for this English drama
based on the Thomas Hardy novel. The music stands in the inheritance of
other English folksong-inspired music. The sparsely scored accompaniments
for "Bushes and Briars" create a unique setting under Isla Cameron's beautiful
vocals (she also sings on "The Bold Grenadier"). "Tinker's Song," sung
by Trevor Lucas, is also an admirable piece.
The chamber music quality of the score sets this work apart from most
other period films. Gently lilting strings provide the backdrop for the
plaintive melodies that weave through the textures of music that's harmonized
in fourths or fifths. More traditional harmonies are then used to bring
closure to a scene, and more free-flowing melodies are used to provide
a hint of the unsettling nature of things to come. Bennett also includes
coloristic orchestral explosions to create tension and propels the music
forward by the sheer energy created in these bursts.
The genius of this score lies in Bennett's use of dissonance and in
his overall restraint. By spreading out his clusters of sounds, the music
is able to communicate the drama without detracting from it. Even when
the orchestration settles into simple melody and accompaniment, Bennett
still manages to add interesting layers that are easily picked out in the
light texture. The atonal flashes then provide the tension needed as contrast
to the stable folk music.
Chapter III has done an excellent job in digitally remastering this
score. And, there must have been some additional Bennett score in the MGM
library that could have rounded off this short CD? But don't let that distract
you from enjoying this wonderful music! -- Steven A. Kennedy
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