THE NEW WORLD – James Horner
Original Review by Jonathan Broxton
James Horner’s fourth and final score for 2005 is without doubt his most prestigious: The New World, directed by Terrence Malick, tells a new dramatic version of the familiar story of Native American princess, Pocahontas (newcomer Q’Orianka Kilcher), and her first encounter with John Smith (Colin Farrell), the leader of the first English Settlers to land on the shores of what is now the United States of America. Despite the misgivings of Pocahontas’s tribal elders, Smith’s colleagues, and the girl’s age (she was just 14) the pair fall deeply in love – but it soon becomes apparent that their relationship cannot last, and that their forbidden romance will have terrible repercussions for both sides. The film, which also stars Christian Bale, Christopher Plummer, Ben Chaplin, David Thewlis, and Native American character actors Wes Studi, August Schellenberg and Irene Bedard, is about as far from the Disney animated feature as it is possible to be, concentrating on the reality of what life in Virginia in 1607 was like, and the hardships faced by the new settlers in a dangerous and unfamiliar land. Read more…
THE FAMILY STONE – Michael Giacchino
Original Review by Jonathan Broxton
It’s a wonderful thing to see the career of Michael Giacchino developing in the way it has. In many ways he is the trailblazer of his generation – a massively successful composer in the video game arena who has made the successful transition over into movies, and is now well on his way to becoming a top name there too, off the back of scores such as The Incredibles and Sky High. The fact that he is now regularly scoring major studio movies is one of the most pleasing developments in years, and one can only hope the trend continues. His latest assignment is the romantic comedy The Family Stone, which is likely to surprise many of his most ardent fans, because for the most part it sounds like nothing he’s ever written before. Read more…
KING KONG – James Newton Howard
Original Review by Jonathan Broxton
There was much controversy surrounding Peter Jackson’s new version of King Kong from the get-go. Initially, there was surprise that the Oscar-winning director would choose this film as his follow up to the massively successful Lord of the Rings trilogy. Then, there were stories of unrest amongst the cast and crew, the need for re-shoots, and the film not playing well with test audiences. Finally, almost as a final insult, original composer Howard Shore had his score rejected at the eleventh hour, officially as a result of “differing creative aspirations”. This left new composer James Newton Howard with less than six weeks to write a replacement score. Many in the industry were worried as to whether Newton Howard could pull it off – but the truth of the matter is that composers often write their best music when under enormous pressure, and King Kong is very much an example of that. The score is, in my opinion, a qualified success. Read more…
Golden Globe Nominations 2005
The Hollywood Foreign Press Association (HFPA) has announced the nominations for the 63rd Golden Globe Awards, honoring the best in film and American television of 2005.
In the Best Original Score category, the nominees are:
- ALEXANDRE DESPLAT for Syriana
- HARRY GREGSON-WILLIAMS for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
- JAMES NEWTON HOWARD for King Kong
- GUSTAVO SANTAOLALLA for Brokeback Mountain
- JOHN WILLIAMS for Memoirs of a Geisha
These are the first nominations for Gregson-Williams, Howard, and Santaolalla. It is the second nomination for Desplat, and the 20th nomination for Williams. Williams previously won for Jaws in 1975, Star Wars in 1977, and E.T. The Extra-Terrestrial in 1982.
In the Best Original Song category, the nominees are:
- MEL BROOKS for “There’s Nothing Like a Show on Broadway” from The Producers
- ALANIS MORISSETTE for “Wunderkind” from The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
- DOLLY PARTON for “Travelin’ Thru” from Transamerica
- TONY RENIS for “Christmas in Love” from Christmas in Love
- GUSTAVO SANTAOLALLA and BERNIE TAUPIN for “A Love That Will Never Grow Old” from Brokeback Mountain
The winners of the 63rd Golden Globe Awards will be announced on January 16, 2006.
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE – Harry Gregson-Williams
Original Review by Jonathan Broxton
A beloved children’s fantasy for generations, C.S. Lewis’s tales The Chronicles of Narnia have been made into radio plays, audio books, and even an acclaimed mini-series made for British TV in 1988, but never before for the big screen. Walt Disney, Walden Media and Shrek director Andrew Adamson have finally managed to right this wrong, with this lavish setting of the first part of the seven-book series, The Lion the Witch and the Wardrobe. The story follows the adventures of the Pevensie children – Lucy (Georgie Henley), Edmund (Skandar Keynes), Peter (William Moseley) and Susan (Anna Popplewell) – who, having been evacuated from London at the height of World War II, are sent to the English countryside to live with their eccentric uncle, Professor Kirke (Jim Broadbent). While playing hide and seek in the house one day, the children accidentally discover a doorway at the back of an old wardrobe, which transports them to a magical kingdom called Narnia, which is ruled by an evil White Witch (Tilda Swinton), and is in a perpetual state of winter. When Edmund is captured by the Witch, the remaining three children set off across the landscape in search of Aslan (Liam Neeson), the good lion king, who agrees to help rescue their brother in exchange for them joining his war against the witch and returning Narnia to peace and democracy. Read more…
BROKEBACK MOUNTAIN – Gustavo Santaolalla
Original Review by Jonathan Broxton
When I first read the plot summary of Brokeback Mountain, I half-wondered whether it was a joke at the expense of Trey Parker and Matt Stone, specifically the episode of South Park where Cartman attends the Sundance film festival and loudly complains that “every fucking independent movie is about gay cowboys in Wyoming!” This is because Brokeback Mountain is, in fact, a movie about gay cowboys in Wyoming. It also happens to he a very, very good one, and is fully deserving of all the critical praise it has been receiving. Adapted from Annie Proulx’s short story by Lonesome Dove writer Larry McMurtry, and directed with sensitivity by Ang Lee, Brokeback Mountain stars Heath Ledger and Jake Gyllenhaal as Ennis Del Mar and Jack Twist, two young men – a ranch hand and a rodeo cowboy – who meet in the summer of 1963 while working on a sheep farm in rural Wyoming, and unexpectedly embark on a brief, but passionate, homosexual encounter with each other. Read more…
MEMOIRS OF A GEISHA – John Williams
Original Review by Jonathan Broxton
One of 2005’s most prestigious film projects, Memoirs of a Geisha is a lavish cinematic version of Arthur Golden’s popular novel of the same name. Originally slated to be directed by Steven Spielberg, the film was eventually taken over by Chicago director Rob Marshall, but not before Spielberg had secured the services of his long-time collaborator John Williams to write the film’s score. As regular readers of this site will know, scores which combine oriental sensibilities with western orchestras often receive high ratings and glowing plaudits. Unsurprisingly, Memoirs of a Geisha is not going to buck that trend. Read more…
THE WORLD’S FASTEST INDIAN – J. Peter Robinson
Original Review by Tom Kiefner
What sort of images does one conjure up when the title to a film is called The World’s Fastest Indian. Does one think about the famous indian athlete James Thorpe? Perhaps some sort of long marathon race run by a member of the Navajo tribe? Perhaps some sort of speed record for a short sprint run by an unknown named indian. Until a review was read in the local newspaper I had no idea that it was about a motorcycle and it was based on a true story and a speed record was set at the Bonneville Salt Flats which stands to this day. And in addition there is a story of the main character played by the talented Anthony Hopkins and a young boy and the wonderful relationship that was formed. J. Peter Robinson was a composer who was known more for his horror music than a pretty serious drama. Films such as Nightmare Cafe, Return of the Living Dead Part 2, and New Nightmare were some of his standard fare. How could he possibly fit into this kind of film? As it turns out it is the third film Robinson has done with director Roger Donaldson, the two previous films being Cocktail and Cadillac Man. Their relationship had been formed and as it turns out an excellent one indeed! Robinson has produced a fine score for a fine movie. Read more…
AEON FLUX – Graeme Revell
Original Review by Jonathan Broxton
I sometimes feel quite sorry for film music composers, and what they have to put up with. Un-cooperative uninformed directors, clueless meddling producers, insane deadlines, technical glitches – it’s a wonder certain scores ever turn out as good as they do, considering the difficult circumstances in which they were written. Aeon Flux is one such project: a troubled film from the day it was given the go-ahead, it suffered everything from last minute script re-writes to multiple composer changes. Originally Theodore Shapiro was on board, but before he could record his score he was replaced by Australian/German electronica duo Reinhold Heil and Johnny Klimek. However, AFTER they had recorded their score, the producers from MTV decided they were still dissatisfied with the finished product, and brought in Graeme Revell to save the day, with just a couple of weeks until the film’s premiere. Revell has been in this situation before, of course, being the last stop on the Tomb Raider merry-go-round back in 2001. That Aeon Flux is this good is testament to his professionalism and time-management skills. That Aeon Flux is this disappointing is testament to more film studio indecisiveness with respect to the part of the process they continually seem to understand the least – the music. Read more…
HARRY POTTER AND THE GOBLET OF FIRE – Patrick Doyle
Original Review by Jonathan Broxton
Harry Potter and the Goblet of Fire, the film adaptation of the best-selling novel by J.K. Rowling, sees young the wizard Harry (Daniel Radcliffe) entering his fourth year at Hogwarts School of Witchcraft and Wizardry, along with his best friends Ron Weasley (Rupert Grint) and Hermione Granger (Emma Watson). After getting caught up in a worrying incident at the Quidditch World Cup, Harry finds himself unexpectedly involved in the legendary Tri-Wizard tournament, in which the champions of three international witchcraft schools take part in a number of challenging and highly dangerous tasks to find an overall winner. However, against the backdrop of this prestigious event, something much more sinister is afoot: rumours begin to circulate about the return of the Death Eaters, evil wizards who wrought havoc upon the magical world years before – and worse yet, the return of Voldemort, their leader, and the one who murdered Potter’s parents… Read more…
PRIDE & PREJUDICE – Dario Marianelli
Original Review by Jonathan Broxton
Jane Austen wrote her timeless classic of love and longing Pride & Prejudice in 1813, and in doing so introduced to the world what would in time become a classic of English literature. Austen’s story has been adapted for both the big and small screen on several occasions, arguably the most popular and acclaimed being the 1995 BBC mini-series starring Colin Firth and Jennifer Ehle, with music by Carl Davis. This new version directed by Joe Wright stars Keira Knightly as the ‘quick minded, sharp witted’ Elizabeth Bennet, who in order to keep her family home secure and provide a future for her mother and sisters, is betrothed to the wealthy but passionless Mr. Bingley (Simon Woods). However, just as her family’s fortunes look as they are finally going to take a turn for the better, Elizabeth unexpected finds herself falling for the dour, taciturn Mr. Darcy (Matthew MacFadyen), with whom she clashes both on a number of occasions… The film features an exceptional supporting cast, boasting the likes of Judi Dench, Donald Sutherland and Brenda Blethyn, makes wonderful use of English locations (such as Chatsworth House in Derbyshire), and looks set to become one of the year’s most critically acclaimed motion pictures. Read more…
ZATHURA – John Debney
Original Review by Jonathan Broxton
Celebrated children’s author Chris Van Allsburg must have a thing about board games. Having already unleashed Jumanji on the world back in 1995, and after the festive diversions of The Polar Express last year, he now returns to his genre of choice with Zathura, another juvenile adventure about a deadly game which proves all too real for its players. Directed by Jon Favreau and starring Jonah Bobo, Josh Hutchinson and Tim Robbins, Zathura tells the story of two brothers who discover a space-adventure board game in the basement of their house. However, once they start playing the game, the boys suddenly find themselves in mortal peril: their house has hurtled through space and is now in orbit around Saturn; they find themselves bombarded with meteors; and, worst of all, they are being threatened by a race of nasty lizard-like aliens called Zorgons. Their only way home is to finish the game – providing they stay alive long enough to do so… Read more…
Remembering Alessandro Cicognini, 1906-1995
Composer Alessandro Cicognini died ten years ago today in Rome on November 9, 1995, at the age of 89.
One of the most important figures in the development of Italian film music, Cicognini was particularly associated with the great post-war neorealist films of Vittorio De Sica, including Shoeshine, Bicycle Thieves, Miracle in Milan and Umberto D. He also enjoyed significant collaborations with Alessandro Blasetti and other leading Italian directors, writing music for more than 100 feature films during a career spanning three decades.
Cicognini was born in Pescara on January 25, 1906, and spent much of his youth in nearby Francavilla al Mare. As a teenager he accompanied silent films on the piano at local cinemas, an experience that provided an unusually direct introduction to the relationship between music and moving images. Although his father encouraged him to pursue a conventional profession and he obtained a degree in law, Cicognini continued studying music, attending the Milan Conservatory under Giulio Cesare Paribeni and Renzo Bossi.
His early ambitions were in concert and operatic music. The cantata Saul appeared in 1932, followed by the three-act opera Donna Lombarda, which won recognition in a competition organized by Italian radio. Cinema soon became his principal occupation, however. His first film assignment was I Due Sergenti in 1936, followed by The Black Corsair the following year, and during the 1940s he developed an important relationship with Alessandro Blasetti on films including The Iron Crown, Four Steps in the Clouds and Prima Comunione. Read more…
Francesco De Masi, 1930-2005
Composer and conductor Francesco De Masi died in Rome, Italy, on November 6, 2005, at the age of 75, following a battle with cancer.
One of the most prolific figures in Italian film music, De Masi wrote scores for more than 200 films and numerous television productions and documentaries, but remains best known for the distinctive music he composed for spaghetti westerns during the genre’s golden age.
De Masi was born in Rome on January 11, 1930, and studied composition at the San Pietro a Majella Conservatory in Naples with his uncle, Achille Longo. He also studied conducting with Franco Ferrara and Paul van Kempen and trained as a horn player, performing with orchestras including the RAI Symphony Orchestra in Rome. His interest in cinema began while assisting Longo on a film score, and in 1951 he composed the music for the documentary Fiat Panis. Several years of documentary work followed before he moved increasingly into feature films.
During the early 1960s De Masi worked extensively on the historical adventures and sword-and-sandal epics then dominating Italian popular cinema, including Hercules the Invincible. However, it was the explosion of the Italian western that provided him with his most characteristic body of work. Unlike many composers who entered the genre after the enormous success of Ennio Morricone’s scores for Sergio Leone, De Masi was already developing his own western sound and consequently retained a style that was distinctly his own.
Among his most notable westerns were A Coffin for the Sheriff (1965), Arizona Colt (1966), Seven Winchesters for a Massacre (1967), Any Gun Can Play (1967), and Kill Them All and Come Back Alone (1968). His music combined traditional symphonic scoring with electric guitars, percussion, whistles, choral writing and memorable title songs, while retaining a stronger orchestral foundation than many of his contemporaries. Arizona Colt was especially successful, with De Masi collaborating with guitarist and vocalist Alessandro Alessandroni on the score and its song “The Man from Nowhere.” Read more…
CHICKEN LITTLE – John Debney
Original Review by Jonathan Broxton
It pains me to write this, but the quality of Disney’s annual animated features seem to be decreasing in quality with each passing year. It’s a truly depressing thought to realise that having gone from such legendary fare as Pinocchio, Snow White and Bambi, to modern classics such as Beauty and the Beast and The Lion King, we are now reduced to watching twaddle like last year’s Home on the Range, and this year’s lacklustre effort, Chicken Little.
The story is a simplistic fable variation on “the boy who cried wolf”, aimed firmly at kids, with little in the way of the subtle subversiveness which makes this kind of fare palatable for adults. Young Chicken Little (Zach Braff) causes a mass panic in his small hometown of Oakey Oaks when he claims that “the sky is falling” (it turns out to be an acorn), and is scorned as a dumb kid, and treated as a social pariah. Read more…
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