CD Reviews: Captain Corelli's Mandolin and Planet of the Apes
Captain Corelli's Mandolin *** 1/2
STEPHEN WARBECK
Decca 289 467 678-2
23 tracks - 60:13
If after hearing the wildly eclectic Quillsyou were worried that
Stephen Warbeck had given up writing the gorgeous romantic melodies of
his Oscar-winning Shakespeare in Love...fear not. Warbeck's score
for John Madden's adaptation of the best selling novel by Louis de Bernieres
is as lush and swooning as ever. Originally to be directed by Notting
Hill's Roger Mitchell before he became ill, this World War II romance
stars Nicholas Cage as an Italian soldier stationed on the occupied Greek
island of Cephallonia, where he falls for "bella" native Pelagia, played
by Penelope Cruz (this time trying her skill at the English language with
a Greek accent!). At first resentful of this Italian soldier, Cruz is infected
by Corelli's love of life and his beloved mandolin.
Though not in the same league as Shakespeare in Love, this film
has one big asset: it's mood. Everything from the look and feel of the
movie captures the mood of the island perfectly, and this is in part due
to Warbeck's contribution. The music sounds historically accurate while
retaining a modern edge, and it also perfectly captures a hot summer setting.
As I listen to the CD, I feel transported onto that island.
The most notable and impressive cue, of course, centers on the title
instrument of the mandolin. "Pelagia's Song" is the orchestral version
of the main mandolin theme, and starts the album on the right foot. The
rest of the CD stays on this same even keel mood for most of its length,
with historical source cues popping up every so often. Even the music for
the soldiers and war scenes are played ominously as opposed to the usual
in your face action approach.
Standout cues include "On the Jetty," a duet of sorts between the mandolin
and the guitar. The track beautifully evokes a languid serenity. The mandolin
solo (appropriately titled "The Mandolin") expresses the sadness and excitement
of Cage's character.
Also included are two Italian songs (both based on Warbeck's themes)
sung by the up-and-coming, yet slightly small-voiced Irish tenor, Russell
Watson. "Ricordo Anchor," based on Pelagia's theme, is especially romantic
thanks to a gorgeous orchestral interlude. Though not a very muscular score,
Warbeck's music should prove popular with the casual film music aficionados.
-- Cary Wong
Planet of the Apes *** 1/2
DANNY ELFMAN
Sony Classical SK89666
15 tracks - 58:21
Percussion.
Can I get away with a one-word review for one of the few interesting
scores of the summer movie season? Granted, there's no value judgement
to the word, although it does have different meanings to different people.
And truth be told, Danny Elfman's score to Tim Burton's "revision" of the
popular movie classic isn't all percussion, despite the fact that it will
be the aspect of the score that will distinguish it from most other Elfman
works.
Although Planet of the Apes is enjoyable in parts (the controversial
and totally arbitrary denouement excluded), it's the least Tim Burton-like
movie Burton has ever made -- which is surprising since the tale seemed
to cry out for the revision he promised. Unfortunately, the revision was
more in the plotting of the movie, and less with the look and mood. In
fact, Burton's "revision" feels more like a Joel Schumacher revision of
a Burton movie (and coincidentally, the beginning minute of "Ape Suite
#1" sounds a lot like the clanging style of Elliot Goldenthal).
Elfman has said in interviews that he knew this score had to be melodic,
and it does have a kicker of a main theme. However (and this is my main
criticism of the score that I admire) Elfman's music for the various battle
sequences doesn't distinguish itself from a lot of mainstream action cues
out there. In fact, as I watched the movie, the music blended so much into
the sound effects, I hardly remember hearing music at all. Granted, many
people consider this a good thing.
As an album, Elfman's music comes together better and better with each
listen. Its scope is truly operatic (in a muscular way -- think Wagner)
and it incorporates a gigantic orchestra and exceptional sound production.
The bold and modern "The Hunt," which didn't leave much of an impression
matched to the film, sounds especially exciting on CD. The quieter cues
like "Old Flame" hold a mysterious, exotic quality, and while they aren't
overtly thematic, they are a welcome contrast to the bombastic action.
The album's most unwelcome aspect is its trendiness -- in this case
with the return of dance re-mixes. Remember back in the late '70s when
we had those nails-in-the-head pounding, G-d-awful disco re-mixes at the
end of so many scores? Even now, thoughts of those dance re-mixes of The
Deep and Close Encounters make me cringe. And now they're back.
The Planet of the Apes CD ends with Paul Oakenfold's remix of Elfman's
main theme, along with <gasp> dialogue. While this is good promotion
for the movie (MTV featured the video), it's a bad sign of things to come.
Plus, it has a lousy beat, and I myself would never dance to it.
-- Cary Wong
MailBag@filmscoremonthly.com
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