The Young Man from the East

Princess Mononoke (Mononoke Hime) track 14: "The Young Man from the East" ("Higashi kara Kita Shounen")
composed by Joe Hisaishi
Milan 1997

Probably one of my top five films of all time, Mononoke Hime is, in my opinion, the best Miyazaki Hayao work. Deeply rooted in Japanese culture, Mononoke Hime tells the story of Ashitaka and San, two people from different worlds colliding and then cooperating against those who are killing the forest with technology. This is a common theme in Miyazaki's films, man against nature. Because of its rich story and excellent animation, you forget that you are watching an animated film and sit back with the multi dimensional characters and fascinating scenery. It never fails to fill me with wonder and astonishment when Ashitaka takes to his bow, San and Lady Eboshi duel, or the Deer God breathes life to the forest.

The track is heavily weighed toward strings although there are distinct Asian sounds. It begins with string leading notes which are then taken over by what sounds like horns. However, there fusion of ethnic instruments to give it almost a digital sound. The strings, in all their glory, take the melody and sweep us away into an enchanting forest, underscored by brass. Then they move the melody even further while the brass continue on repeating eighth notes walking us right into the thick of the action. The track is short, only 1:25, and ends on a questioning note. There is a more complete form of this track on the first and last track of this album. It includes a very quick descending melody by some unknown instrument to me and pulls you right into the imaginary world.

The soundtrack to Mononoke Hime is also one of my top five scores. "The Young Man from the East" is representative of many of the tracks on the album. Many have suggested that the album is very repetitive and in fact many of the tracks are just the same name only increased by number such as "Requiem", "Requiem II", "Requiem III". But it is the color that this album provides that makes it such a joy to which to listen. There are heavy and light moments and the vocal songs are incredibly beautiful both in English and Japanese. It is very difficult not to appreciate the themes and musical details that give beauty to the film.

The Hand of Fate - Part I

Signs track 12: "The Hand of Fate - Part I"
composed by James Newton Howard
Hollywood Records 2002

Well, I was going to review some Hisaishi next but I am having trouble deciding which track. So I move on to James Newton Howard. Signs is M. Night Shymalan's third major release and third collaboration with Newton Howard. Personally, I enjoy the film and not because of Gibson's involvement as I just noticed this is my second Gibson film in this blog. I thought the drama was exquisite and the grieving family moving. I also enjoy the ending and that is one of the reasons that this track shows up in my must hear list. The scene during this track is when little Morgan gets the breath knocked out of him by the alien and we all suffer his asthma attack while Reverend Graham shoots him full of adrenaline. It is one of the most enduring moments in modern film, that spansive few minutes when the audience prayed that fate gave him asthma to survive the attack.

The track starts with a hard knock and low woodwinds lead to what I will call the slow dripping. I did not come up with the comparison of this rhythmic melody to water dripping, playing its significant role in the film and I can not remember who did. So without any reference to the genius I give you slow dripping. This continues with strings building the Hermann-esque drama music, inserted with low brass inserts. The high brass hold with strings for what seems like ages. Then a piano starts the repetitive three ascending note fast dripping which are this album and movie's main theme. The theme is moved from string to woodwind and back with underlying brass punctures. Again, the repetition mimicking a dripping faucet or bubbling stream, only with a more dangerous undertone. Finally, the rhythm builds to a soft piano, this time in descending notes underscored by strings playing a lovely secondary melody. An oboe takes over with another melodic line again in descent, all of this pointing toward a happier ending, which is then finished by strings and woodwinds in a soft tone. The strings then pick up a panicked fast itching sound while the piano and flutes take over with more fast dripping only this time only a more glissando to the peak of the theme rather than three distinct notes. Another drop in volume to just the repetitive theme before the dripping theme is punctured by low brass and horns to add one more level of long ascending theme notes. It is quite an incredible layering as it seems the brass is the melody now and continues to morph the theme while the strings and flutes screech to the top in syncopation. Finally the flutes are all that's left of the dripping and brass just continue to move in long durations. At 4:23, a very cool thing happens. The strings populate the entire sound with a high fast dripping theme while the brass underscore in whole notes. Then the strings just continue rhythmic single notes with an inkling of ascension like we are holding our breath. When the brass come in alone with the dripping melody, more additions are made until the entire orchestra is entered on this same theme. My favorite part is at 4:57. The high strings are in a bright enchanting dripping theme while the brass have the main melody, a broadened version of the theme, ever deeper. The entire orchestra continues this but quietly recedes until the end of the track. What a journey?

This track is definitely the high point of the album, although the other tracks prove just as incredible. The entire movie and film combination pay a large tribute to the Hitchcock - Hermann collaboration that Shymalan and Newton Howard have. The music to Signs plays a title role during the opening credits as only names are flashed on the screen rather than a scene important to the movie giving allowing the viewer to hear a concert. Furthermore, the movie would not have its thrills without those pinching and bursts of sounds at just the right moment. Newton Howard has fast become one of my favorite composers solely because he alters each film mood with every score he composes. Signs is only one prime example.

Ride of the Firemares

Krull disc 2 track 6: "Ride of the Firemares"
composed by James Horner
Super Tracks 1983

Before Horner became the everyday name that he is in film scoring today, he had some of the most original and comprehensive scores to ever hit the big screen. Krull is one such masterpiece and I consider it one of the best films scores ever. My favorite track is this one, "Ride of the Firemares". It is so exciting you want to jump on some fantastic beast and fly through a mystical land. I am not as familiar with the movie, Krull, as I should being a fantasy lover. Maybe it was before my time and I have just not had the time to sit and absorb the Peter Yates film. Note to self: add to Netflix queue.

So I am going to jump right into the music. The key to this track is movement. The darn thing never stops. Running strings and woodwinds, beating brass, and ascensions abound. We start with bass instruments setting the stage with a quick rhythmic continuum which is accented by trumpets. The strings come in with hills and valleys of running notes. Then trumpets and horns compete to bring us to theme, lovely sweeping strings which create a flying dragon or perhaps a galloping horse. Flutes are continuing the running notes while the brass puncture. Then the horns repeat, one of my favorite parts, while a harp gets the background. We are treated to a back and forth between horns and strings until a softer version comes up. Strings and high woodwinds trill while trumpets take over. This continues in morphed form with a back and forth of the instruments, long melodies followed by percussive brass, running notes from strings and ascending builds with even some muted brass inserted. There is so much complexity it is hard to capture everything in a quick dissection. At one point the melody moves from trumpet to horn to baritone and you love it when the baritone belts that last note. The finale consists of the trumpets jumping through the scale which diminuendo to high strings.

Nothing James Horner has done since this compares. He utilizes the entire orchestra and creates an excellent sound. The album is two discs and each and every queue is unique and would leave the album empty if left out. The love theme is absolutely gorgeous and would take a detailed post twice as long to get through. As Horner composes less and less original works, you can pick up on his techniques more easily. However, in Krull, it is hard to do that because this was at the beginning of his career. Though there are times even in this album that you can hear his signature elements. Still, it is a joy to listen to each and every time.

Susan Speaks

The Patriot track 14: "Susan Speaks"
composed by John Williams
Hollywood Records 2000

So what should be my first Williams score? Again, I step over the obvious choices like Jaws or Star Wars and pick something noteworthy yet less familiar. While The Patriot is not my favorite Williams, it has a very good theme and packs a lot into its score. The movie did not fair well at the box office even with Mel Gibson's name attached. An already dwindling acting career at that point, Mel Gibson's character in The Patriot is a family man forced to fight for independence during the revolutionary war. The film is gruesome and paints the period British as atrocious war mongers. It also treats Benjamin as a revenge seeking one man savior, something I doubt has much truth at its basis. Still, the film was rewarded with a Best Sound and Best Cinematography nomination at the Academy Awards and of course, boasts a nomination for Best Original Score by Mr. Williams, his 28th nomination at the time. This track occurs when the tragically mute Susan finally speaks to say goodbye to her father as he returns to war. It is a touching moment and plays on Gibson's acclaim with child actors.

"Susan Speaks" starts with one of the album's main themes, a very drawn out string passage containing the intervals of the true theme of the movie. It is tragic in nature with light moments of hopeful peaks. After its conclusion a pipe flute introduces the main theme with bittersweet speed accompanied by guitar. The theme is simple and represents as such reflecting the period and scene. It is answered by the violins tremolo and other string underlying sequences while Gibson pleads for some sound from his daughter. The track moves to silence before moving into what I love best. A repeat of the first sweeping passage only louder and with more bass and crescendo à la Philip Glass. You can not help being captured by the melody. Ending the passage is a bit of hope with a nice suspended fourth.

This track reflects a lot of the album but does not contain everything. Williams does a good job of combining uplifting moments, battle sequences, and dramatic flairs throughout the album. The final reprise is perfect example of it all. However, some of the moments are a bit overly emotional and tend to make your eyes roll. Still, the themes are well concocted and used continuously so that the listener keeps involved in the movie.

Life and Death

Lost track 20: "Life and Death"
composed by Michael Giacchino
Varèse Sarabande 2006

Michael Giacchino is a favorite of mine. His style is nothing special but if I had to compare it to something it would be John Williams. His music is very orchestral and adjusts for whatever he is composing. His career has seen compositions in animated features, games, television series, and feature films. It is his composition for Lost that I want to discuss.

Lost is by no means a meager show. It has production values through the sky with clean editing, sharp writing, and dramatic characters. I recently watched the 'catch me up' episode that ABC plays whenever the watchers have been subjected to several months of reruns. In this episode, one of the producers said something to the effect of "The show is called Lost because they are stranded on the island but the characters are themselves lost in their own lives." This is a very vital piece of information on the inner turmoils of the many survivors of Transatlantic Flight 815. While the show is about the crash and the people trying to live somewhat normal lives on a fantastic island full of creatures and other violent humans, the premise is the past that all these characters are trying to survive. I love its connection of the present to the past and relish how the narration of that past moves the show.

Giacchino impresses with this score. In "Life and Death", he utilizes the main theme of Season One which is a simple melody of two alternating notes moving to a third. It is a sweet theme that addresses all of the supposition of the above. It gives the feeling of remembrance along with hope for the future. The track begins with piano chords, the chords are prominent throughout the track and album, which hint at the theme. The chords are answered by a low string. This is repeated and the answer comes an octave higher. The the chords are played with no answer before the piano begins its own melody with string accompaniment. This continues through the track and there is little change except in octaves and some variation in the melody. Finally a violin takes over with piano accompaniment. We have passed the torched or in this case turned the tide. Both piano and violin finish the track with simple chords and that same melody ends with soft strings. The track then ends with the show's signature brass down tone trickle. Giacchino actually does this for most of the tracks on the album and is the one bad thing that I have to say about it.

This track finds itself well within the album. This theme is repeated on many tracks and although it was not heard much in Season Two, it was heard in the last episode in Season Three. It is nice that Giacchino can carry it that far. This album does represent a well composed Giacchino work. His sound may not be distinct but his adaptation to the work is very clever. I forever look forward to hearing his score in all mediums.

Logan and Rogue

X-Men track 12: "Logan and Rogue"
composed by Michael Kamen (d. 2003)
Decca Records 2000

Why start with something predictable like Star Wars or Lord of the Rings? The original X-Men soundtrack is nothing epic nor is it completely memorable. However, the last track of this album is beautiful and quietly recognizes a main theme from the first movie of this franchise. Logan and Rogue (i.e. Wolverine and Marie) are on top of the Statue of Liberty and Rogue has just been drained of her powers as Magneto tried to transform all of New York into mutants. She was so drained that part of her hair turned white giving the streak that we all know and love. Wolverine tries to rejuvenate her but her to no avail.

Kamen uses a lovely minor string arpeggio backed by piano and basses to introduce the track. It is quickly interupted by a soft longing oboe melody. The strings continue to alternate as the emotion builds to a stunning full orchestra statement of the melody which moves from one octave to its lower. The melody is then repeated by the strings at the bequest of crescendoing horns. It is at this moment, 1:31, that Logan believes Rogue has perished and is the pinnacle of this track. After one more quiet statement of this melody interrupted by staccato brass, the track becomes haunted by lower brass. The track should have ended there but Kamen brings high violins back to give a more uplifting melody to the bassoons and piano. The oboe returns to say goodbye followed by woodwinds and brass triplets. A mysterious piano hints at the inevitable sequel and the orchestra returns with the main X-Men theme of the entire album to close.

Kamen's main theme in this track is unforgettable. I love to listen to it over and over again. The triplet time signature also makes for a catchy rhythm adding to its allure. While a lot of this score is not very Kamenesque this track screams Kamen. Overall, it is one of my very favorite tracks but it is definitely the only unique track on the album.

Welcome to Score Tracks

There are many film soundtrack and score review sites on the web. So many, in fact, that it seems silly to add another. Still, film music is a passion of mine. This blog will be more a discussion than a review and will concentrate on one track from a film score instead of the entire score. Perhaps this will entice others to debate on how the track fits into its parent score or how it represents its composer. Whatever the outcome, this gives me an outlet to talk about my favorite music genre.