CD Reviews: Iron Monkey and Living Edens
Iron Monkey ** 1/2
JAMES L. VENABLE
GNP Crescendo GNPD 8076
21 tracks - 54:12
It's interesting (but not surprising) that the first movie to jump on
the Crouching Tiger, Hidden Dragon juggernaut is a movie from the
past. Legendary fight choreographer Yuen Wo Ping, who worked on Crouching
Tiger as well as The Matrix, is also a director, and it's his
1993 Chinese action film, Iron Monkey, that Miramax recently resurrected
with the help of producer and kung-fu film fan Quentin Tarantino. One of
the main criticisms of Crouching Tiger was the fact that the thing
that people most loved about the Oscar-winning movie, namely the weightless
fight sequences, have been around for a long time in the kung-fu genre
(which may explain why Tiger wasn't a bigger hit in China). Iron Monkey,
about a Robin Hood-type character who steals for the poor, has the same
awe-inspiring fights as its future cousin. However -- and this is a big
however -- Crouching Tiger had a deep spirituality at its core,
thanks mainly to the contributions of director Ang Lee.
Since Iron Monkey was a finished movie, the only thing Miramax
could possibly do to "Tiger-fy" the film for the 2001 American premiere
was to change the score. James L. Venable has been given the challenging
task of composing a score that the record label is promoting as "music
in the grand tradition of Crouching Tiger, Hidden Dragon and Enter
the Dragon." And, while it is true that a lot of the music seems inspired
by Tan Dun's Crouching Tiger, it sounds more akin to Lalo Schfrin's
1973 classic chopsocky score.
Tan Dun's Oscar-winning score for Crouching Tiger is a model
of a restrained action score. And while Venable has incorporated a lot
of Tan Dun's style, he does fall into standard action music mode for a
few of the sequences. This is not, however, a criticism of Venable's score,
just an inevitable comparison. Venable, who composes music for the TV series
The Powerpuff Girls, is a relative newcomer to film composing, and
his score, while in no way in the same league as Crouching Tiger,
is still professional and listenable. In fact, those fans who criticized
Crouching Tiger's score for being too slow will enjoy some of the
more adrenaline-driven sections of Iron Monkey.
The "Main Title" cue starts the score on a Tan Dun reflective note,
before breaking into pulsating action music of "Dead Bird/Iron Monkey Fight"
which, typical of the rest of the score, throws in every type of Chinese
instruments imaginable. Venable even quotes the clanging style of Chinese
opera in "Shaolm Monk fight/Ugly Virgin Fight." What this score desperately
needed is a recognizable theme. Instead, we get generic Kung-Fu music which
displays talent, but it's music we've heard many times before.
One has to wonder how different this score is from the original 1993
score by Richard Yuen, and if they could have left well enough alone. Venable
has created a serviceable score for the film and a mildly interesting one
for the CD. -- Cary Wong
The Living Edens ***
LAURA KARPMAN
ABC Circle Music 310.289.1986
24 tracks - 68:20
While some composers would regard a single Emmy win as a significant
mark of achievement, what would you do if you won four, and for the same
TV series? As such, the quality of Laura Karpman's multi award-winning
music for PBS' The Living Edens cannot be disputed, and this new
release gives you the opportunity to sample some (but not all) of the Emmy-grabbers.
The Living Edens is a documentary series that takes the viewer
to far-flung unspoilt corners of the planet. The music serves as an accompaniment
to the exotic landscapes, working in tandem with the visuals, and never
in danger of drowning out the acoustics of the natural environments. Karpman
uses her rich experience in the fields of jazz, classical and world music
to deliver an eclectic brew of sounds. Regard each track as an ambient
music box which, when opened, unravels a stream of (predominantly) soothing
organic sounds and textures.
As you'd expect, the sounds of traditional instruments (often via synths)
are employed to give a sense of place, but more often than not they are
fused with additional unexpected elements like the melancholy wailing of
a sax. This is apparent in "Turtle March," a chaotic brew of freeform jazz,
which being so early in the disc might suggest the tone is predominantly
avant-garde. But this is not the case, and "Reefer Blues" is more restrained
in its melody, a film-noir styled lament. "Springtime" is a sprightly and
whimsical backdrop to Alaska, while "Rebirth" and "Native Dance" (replete
with Zimmeresque ethnic chanting) transport you to the majestic African
plains of Africa. On the down side, "Gatorade" sounds like the clankings
of a bad '80s pop group -- employ you "skip" button to full effect!
Strangely, of the four Emmy-winners winners (in the category of Individual
Achievement in a Craft), only Denali is represented on this disc, and there's
no explanation for the omission of Madagascar, Manu or Patagonia. We are,
however, given nearly 10 minutes from Palau: Paradise of the Pacific, an
Emmy-nominee (as opposed to a winner).
Of interest to the soundtrack buyer who wants to diversify beyond the
mainstream, but certainly not for the bombastic crowd. In fact, these ambient
textures of chill-out New Age mood music might be the ideal way to detox
your hi-fi after too much sword, sorcery and wizardry. Recommended with
reservations. -- Nick Joy
MailBag@filmscoremonthly.com
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