by Paul Tonks
score -- n. / Pron. “skôr”
1. The notation of a musical work.
2. The written form of a composition for orchestral or vocal parts.
3. The music written for a film, play, or other viewed entertainment.
4. The resounding cheer of ‘high-fiving’ Producers getting music that’s close enough to the Temp Track, without being sued.
GUILTY PLEASURES
So often you’re asked to nominate a Top Ten list of favourite films or scores. And I can never do it. I hate all the greats or nearly-rans that fall off that list. For this Column, I thought I’d champion a few scores that made a lasting impact on me, but never make it onto anyone’s all-time favourites lists. No particular order. No money has exchanged hands. I like ‘em just the way they are:
CUTTHROAT ISLAND - John Debney
There are some circles in which this pirate romp is unmentionable. I spotlighted this briefly once before in a Column here devoted to swashbuckler film music. Neither Matthew Modine nor Frank Langella may be as fun to watch as Johnny Depp in PIRATES OF THE CARIBBEAN. The recently Oscar Nom’d pretty boy most certainly did not benefit from the Golden Age styled heroics contained here though. Geena Davis is a blatantly contemporised rock ‘n’ roll central figure, but no one thought that needed to equate to a rock ‘n’ roll score. Debney’s chorus and cartoon approach is spot on, elevating the adventure into classical camp. “Bad Dawg!”
 |
PACIFIC HEIGHTS – Hans Zimmer
Saxophone. Sighing solo female vocalist. Banjo. Uniquely conceived electronic effects. Oh yes - that Zimmer. Apparently his musical world all changed post BLACK RAIN, when he’d set the trend for action movie music thereafter. That’s as may be, but a year later, this sparkles with wit and invention. Michael Keaton’s sociopath is carefully kept on the right side of insane. Melanie Griffith’s pursuit of justice is peppered with comedic moments, helping us side with her (as if those bun-hugging jeans weren’t already doing the job). Best of all, the couple of spooky sequences are kept spooky precisely because of the synths’ ambiguity. Funny how all the talent and criteria pointing toward doing things one way can about-face and end up doing the opposite. (Nah – I exaggerate, I really did like his MATCHSTICK MEN!)
 |
HAUNTED SUMMER – Christopher Young
Oh how it used to be wonderful buying film music on vinyl. The real sense of buying something in a shop ‘cos it didn’t fit in a pocket. The preciously careful way you held the disc so as to not scratch it. And the thrill of appreciating artwork at a scale you could actually see. It was for the latter reason that I bought this score unheard (only later making the mistake of renting the video), and what a bonus it was to discover such a beautiful score within. The few strings and synths won’t have cost much, but what a sound they generate. Eerie, romantic, charming, inventive and unpredictable. The type of film music find all collectors dream of.
 |
THE ROCKETEER - James Horner
OK, so the guy was Oscar Nom’d again this year, but if you ain’t in the ‘all his scores are classics’ group, there seems to be a growing pocket of uncool about liking anything Horner. And so I happily remember things back in ‘The Day’. I still cite this as the last time he sounded like he had any fun on a project. Going up-diddily-up-up and characterising the moustachioed = nasty Timothy Dalton, there’s lots of great moments in this, the best cartoon score he ever wrote.
 |
LORD OF ILLUSIONS - Simon Boswell
The album may be strewn with pop songs that really get in the way, but that’s why we have the Skip button! There are two principle elements: the cult God Nix and Scott Bakula’s Harry D’Amour. For the former, we get a brooding march that makes for a terrifically creepy title sequence. The latter often appears on saxophone as the NY PI slinks around LA investigating the world of magic. It’s music as dangerous as Clive Barker’s visuals. Thank goodness that’s a rare thing.
DARK CITY - Trevor Jones
What I love about this score is that it did everything right in maintaining the mystery of the movie. I also love that Jones’ action material works so much better here than it did in DESPERATE MEASURES the year before or MERLIN the year after. The big twist ending is enriched by a heavenly extended cue for strings and sampled chorus. Oh, and like THE ROCKETEER, it’s got a love theme goin’ on for Jennifer Connelly.
BOUNCE - Mychael Danna
Everyone digs Danna in quirky film mode, but I really liked this simple people tale (that’s the tale is simple, not the people!) Sure, he uses a bansuri in with the orchestra, but everything’s so well blended in. In fact, the beats and samples are pretty standard palette tools for the genre and most other composers, but channelled through Danna it all comes out sounding fresh and funky.
 |
THE NINTH GATE - Wojciech Kilar
I drank this movie. From the opening seconds, Polanski’s use of colour, composition and camera movement just thrilled me. And then there’s this slithering and seductive score from Kilar to boot. The Polish composer dinged many people’s radars with BRAM STOKER’S DRACULA, but if it weren’t for the subsequent collaborations (this, plus DEATH AND THE MAIDEN, and THE PIANIST), I doubt the name would still circulate Western aficionado conversation. In a way, I’m glad he never “went Hollywood.” Gems like this wouldn’t have stood out as brightly if he had. Does the score help explain the ending though? Nope!
SHOOT-BACK HERE! |
ARCHIVES
