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I just ordered La La Land's expanded edition of Patrick Doyle's score for "Dead Again" and was greatly impressed with their presentation. What's unfortunate, however. is that some cues were removed from the finished film and the opening credits ("Headlines") was different on the Varese Sarabande version than on the La La Land version (both versions are included);nevertheless, an impressive score, and one of Doyle's most underrated efforts. Comments?
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What can I say except that I agree? (Well, aside from perhaps "underrated" -- I think this score is rated pretty highly by Doyle fans!) In this early period of his career Doyle was just on fire. He could practically do no wrong. This is one of the best, even from that period. And when the choir comes in at the climax, even better.
The original album was wonderful but so short, and LLL's complete release was a godsend. I'm not sure why Varese didn't control this title in perpetuity like 99% of their 90s releases, but I'm glad they didn't because who knows when (or if) they'd ever have gotten around to expanding it.
Yavar
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Score and film are both great. Because of the iTunes era, we get the tools to reshuffle the track list.
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I loved this score as soon as the movie started and that orchestral hit came on the “MURDER” headline.
I really enjoyed the movie as well, a nifty story with a couple of great twists and a lot of very good actors clearly enjoying themselves with the material. Patrick Doyle appears in the film as one of the cops at the hospital with the disturbed woman.
I never expected Dead Again to get expanded; the original album had most (though not all) of the major setpieces and was a relatively satisfying presentation for its time. Scott Frank's track titles were pretty nice too. All that said, the La-La Land presentation doubles the running time of the score proper and is a much better presentation for it. Because the music is so important to the way the story is told,
I don't think the music got short shrift in the film, though. A few cues here and there may have been dialed out, but for the most part the score is intact.
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Yavar is so right. Doyle in this time frame seemed to be on an inspired high. I was thrilled to see this expansion of a great score and hope there can be more to come (even though I think his music has already been treated generously on disc).
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Kenneth Brannagh and Patrick Doyle started their director/composer careers simultaneously and both started fully geared and ready to go for broke; all of Doyle's scores from that period (Henry V, Frankenstein, Dead Again etc.) were outstandingly good.
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First of all excuse my English in case something doesn´t make sense, I´ll try to express my thoughts the best I can.
Wow, just wow. Been revisiting this recently (thanks to La-La-Land amazing expansion and remaster!) , no neighbours (they went on holidays) , played at full volume. It´s absolutely amazing, a masterpiece of wondrous and bombast, but also of lyricism and romanticism. Wonderful orchestrations, orchestral colours and mixing (particularly the flute solos).
Feel almost like a Golden Era score (makes sense given the kind of picture)
Also, the movie is great as well, with Branagh´s virtuoso camera movements soaring away. The travellings, long takes (I think there is one shot in particular that is done 360º, very long, uncut take) and the visual paralelism between the 1940´s and 1990´s storylines are particularly mesmerizing.
Love the operetic, neo romantic, over the top approach by Branagh. Also sometimes the Doyle score is used like fake diegetic music, intercalating little motifs, like the Roman opera/the love theme or the piece that sounds as the soundtrack of the classic movie that Inga is watching on TV.
He respects Doyle score very much, leaving it almost completely intact in the movie, I think almost nothing it´s cut out, I could be wrong, though
The 1989-2006 period was awesome for both Branagh and Doyle. I think Branagh is an underrated auteur. Doyle is also one the best composers of the last decades.
Recently, they went on a more commercial/blockbuster path with limited artistic freedom, and both Branagh direction and Doyle scores suffers quite a bit because of that. Although Cinderella and Murder on the Orient Express -specially Cinderella- where very good in my opinion.
This score is, in short, a must buy, one of the best of the 90´s. I miss this type of scoring (and filmmaking).
What do you guys think?. Am I been over enthusiastic?
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Also, one question: is the La-La-Land expansion 100% complete?. I believe that the tiny, menacing bit that sounds when Roman sees Margaret and Baker together from the distance (at Otto´s party) is absent.
Not that I mind at all, just curious.
Thank you very much.
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Very interested to read Yavar Moradi thoughts about the film and score. We have chatted about early Doyle a couple of times in the past, and it´s been refreshing.
I discovered Shipwrecked thanks to him!
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Anyone who revisited this recently?
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Anyone who revisited this recently?
Yes, it’s a classic!
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Anyone who revisited this recently?
Yes, it’s a classic!
A classic? Wow, I knew it was highly regarded by Doyle fans, but have no idea that is was considered a modern classic.
Love the tiny little flourishes here and there, the orchestrations are so elaborated and British... really Doyle was a on a superior level back then.
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I was recently listened to the whole score while driving. Top notch. :-)
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