Retaken - The composers strikes back
- What is your favorite soundtrack?
- Pretty Woman!
- But Pretty Woman is not a soundtrack. Pretty Woman is a Roy Orbison song of 1965 that was used in that Julia Roberts movie. It is pop music! Guess again!
- Okay, the Ghost theme then!
- ... Ghost theme is another pop success. Not originally done for movie! It is the version of the Righteous Brothers a movie theme of the 50´s and that was used in the movie Ghost ...
- What about Kill Bill ? There´s great music in there...
For many years the "soundtrack" concept was linked to the success of a pop theme used in a movie. Situation characteristic since the 80 decade, not by chance the golden age of video clips. The situation also characterized the weakest moment for lovers of original soundtracks composed for the film. If music coming from the popular market would be the main theme of a movie then what would be the function of a composer of original scores?
That practice (on using pop) still persists, after all to pay royalties and release albums as collections of pop/rock on the market is faster and easier than hiring composers and orchestras for the creation of original music. In other times even when pop or rock references were needed in some film, was the composer in charge of the score that provided such songs. In Rollercoaster (1977), for example, Lalo Schifrin made thriller tracks, the main theme (a disco!) and even the source music (heard on speakers or radios without dramatic function). Why was not used a disco original by Giorgio Moroder or Cerrone as theme of Rollercoaster? First because Lalo Schifrin is one of the most gifted talents of the film medium, and second, the practice of release collections of pop hits to sell soundtracks was not yet necessary to help the success of a film with the audiences.
More recently we can remember Snatch (2003), which has very creative use pop/rock music during its narrative. Many situations are intensified (or ironically treated) by music and the result is really very good, but it would be appropriate to ask: what a composer of original material would have done instead of using ready-made themes from the music industry?
Despite the persistence of the soundtracks as popular music collections to identify a movie, it is currently possible to note a very healthy recovery of original soundtracks consistently enough to justify attention within or away of the film.
The intention to original works (read "works with its own personality") is easily detectable in the composers as George Fenton, Patrick Doyle, Elliot Goldenthal or John Ottman. The instrumental inventiveness on John Ottman´s work as The Usual Suspects, or Mark Isham´s Nell or the jazz-orchestra mergers of Titus and the influence of progressive rock of The Tempest, both of Elliot Goldenthal, keep the hope of fans of soundtracks in that contemporary film music could remain as attractive and creative as it was in past decades. The work of Patrick Doyle is precursor of this revaluation in film music. His impressive work for Kenneth Branagh´s Hamlet (Hamlet, 1996 Sony Classical) is one of the most notable examples of symphonic score in contemporary cinema.
New generations and recent productions show a refreshing and promising creative resurgence in movie soundtracks. Concerning sound personality can be noticed The Countess (2009 Colosseum Records), admirable commitment of actress Julie Delpy who, in addition to writing the script, direct and star in the drama based on the life of Countess Erzbet Bathory (the "Countess Dracula"), also composed his beautiful soundtrack. Driven mainly by strings, the score focuses its force in chamber music expression. Works as whispering music more than exposing itself.
MicMacs a Tire-Larigot (2009 Milan Records), one more delirious comic adventure by Jean Pierre Jeunet, has music by rookie Raphael Beau. Much of nostalgia and humor of MicMacs is merit of Beau´s music that assumes the French tradition of accordions (Diabolique) or waltzes on pianola (Train Bleu).
Also of nostalgic appeal is Javier Navarrete music for Pan's Labyrinth (2006, Milan Records) with his touching lullaby, Long Long Time Ago. But here the effect is transcendent in its melancholy. And even moments of wonder as The Labyrinth, carry a dramatic and melancholy regret.
Good surprises also come from the German Kronos Records: Recycling Lily (2013) is a comedy produced in Sweden with a music score of freshness that deserves attention. In pop music language and multiple quotes, the score references Bacharach and Mancini and assumes satirical side as in the Hawaiian lounge Happy World, quote the spaghetti western in The Inspectors and surf music in Recycling Surf. In most touching moments like Kissed, Emma Falling and Fat and Lonely, the music shows its most human and romantic side. In short: 40 minutes of a musical sympathy that seemed to have been lost in the cinema.
The horror Th3 Pit (2013) has an interesting relationship with the Italian production: Filippo De Masi director is the son of composer Francesco De Masi, veteran of westerns and thrillers of the 60s and 70s. The film (available on Vimeo) follows naturalistic line of equipment in hand and acting to the camera (as in REC, Blair Witch Project etc) with footage captured in notebooks and digital cameras The beginner Furio Valitutti´s score is a good surprise with its assumed reference Gothic/Romantic and the sum of musical quotes referring Italian production.
Directed by Dario Argento, Giallo (2010), was a director´s attempt to approach (or a go back) to the tradition of police thrillers. Its soundtrack was one of the most outstanding works of Spanish composer Marco Werba. Writed for orchestra the score is leaded by strings and assumes tradition in its grandiose look, almost epic in the ascending melody of the main theme. From explicit (KIller's Death) to the subtle (Flashback), the composer keeps attention on the difficult task between the traditional and the contemporary. Avolvi's Theme adds a touch of nostalgia in the solo violin, and vocal whispers of Killer reminiscent of more experimental moments of Argento´s movies.
Concluding: film music fans can sleep well for the composition for films is still alive and well in its course of musical reconsideration.
