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| CD Reviews: Judgment Night and Camera: Reflections on Film Music |
| Posted By: Nick Haysom, Darren MacDonald on December 6, 2005 - 10:00 PM |
CD Reviews: Judgment Night and Camera: Reflections on Film Music
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Judgment Night (1993) *** 1/2
ALAN SILVESTRI
Intrada Special Collection Vol. 23
19 tracks - 72:44
Alan Silvestri's debut on the Intrada label, Judgment Night proves to be a
welcome addition to the composer's discography. The majority of the
score is written for large orchestra, into which Silvestri weaves
electronic textures that add an unsettling feeling.
Most of the cues are dark and atmospheric, evocative of the slums of
the inner city at night (the movie takes place over one night in
Chicago as four friends witness a murder and then become hunted by the
gang that committed it) and all of the dangers inherent to it, whether
real or imagined. However, Silvestri's trademark propulsive action
writing does frequently break out from these darker cues, and this
material is very reminiscent of his writing for the Predator films (and in fact Predator 2 was directed by Judgment Night's Stephen Hopkins)
with their jungle percussion rhythms. In fact, over a dozen
percussionists are credited, which should give a good indication of the
type of sound present here. "Execution" and "Train Yard" are good
examples.
The album finishes off with a suite of unused electronic score cues,
including Silvestri's main title, which contains an ominous quote of
the "Dies Irae." Although there is thematic material here, you won't be
humming it the way you might Silvestri's more catchy themes for films
such as Back to the Future
and Forrest Gump. However, if
you like Silvestri in full-blown action mode, this release is highly
recommended. -- Darren MacDonald
Camera: Reflections on Film Music ***
JAMES HORNER, VARIOUS
True North TND 294 (Canada)
15 tracks - 63:08
Incantation have achieved great success with their evocative
performances based around ethnic instruments, especially Celtic and
Latin American. Having contributed their distinctive voice to numerous
scores since their debut on The
Mission (1986), it is only natural that they should give us a
"best of" collection. As one might expect, this is no Panpipes Go To the Movies: each of
the 15 cuts has been arranged with a good deal of flair and variety by
leading light Tony Hinnigan.
The approach is low-key, intimate and affectionate; the performances
feature dextrous playing of pipes and strings; and the close-miked
sound is deliciously crisp and clear, guitar squeaks and Hinnigan's
breathing vividly to the fore. The only real miscalculation is in the
occasional use of electronics to provide a soothing bed of sound: the
result tends to come across more like hiss on the recording!
The music of James Horner predominates, with no fewer than 10 pieces,
including two from "the iceberg movie." The reverential performance of
"Hymn to the Sea" -- even employing a faux organ -- makes a good
case for this over-familiar score. Braveheart
is immensely pleasing, Hinnigan displaying impressive breath control,
with a striking use of vibrato and an eerie solo coda. Willow is also winning with its
peculiarly drowsy tempo. On the other hand, Legends of the Fall, The Devil's Own and The Mask of Zorro struggle to rise
above the indifferent source material, whilst the lovely melody of The Land Before Time is spoiled by
a trite drum line.
Of the other composers' works, Christopher Young's roistering theme to The Shipping News is a little
disappointing, lacking the heady momentum of the original. Michael
Nyman's The Piano provides a
literal and slightly eccentric change of tone: with strings to the fore
-- and, yes, no piano! -- its ascetic quality is an intriguing, albeit
too brief, diversion. George Fenton's A
Handful of Dust is attractive indeed; it and The Mission allow a succession of
instruments to shine. Indeed, for once the hackneyed Morricone piece
sounds fresh, benefiting from some plangent plucking of guitar strings.
The liner notes carry endorsements from all the composers bar
Morricone, with the quote from Horner suggesting that The Mission was to blame for his
latter-day penchant for ethnic instruments.
Camera is atmospheric and sensual music-making, deserving of wide
audition, though only fans of Horner and Incantation will count it an
essential purchase. -- Nick Haysom
MailBag@filmscoremonthly.com
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Today in Film Score History:
January 13 |
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| Bruno Coulais born (1954) |
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| Frederick Hollander begins recording his score for Sabrina (1954) |
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| John Frizzell records his score for the Star Trek: Enterprise episode “Proving Ground” (2004) |
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| Richard Addinsell born (1904) |
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| Richard Hazard records his score for the Mission: Impossible episode “Kitara” (1971) |
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| Trevor Rabin born (1954) |
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