SOUNDTRACKS
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Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, from time to
time I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally
getting a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long
experience as a listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for
the Chicago Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it
clear that I'll focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a
little heard soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, from time to
time I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally
getting a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long
experience as a listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for
the Chicago Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it
clear that I'll focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a
little heard soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
In conjunction with my latest classic film on DVD roundup, I'm recommending
what I consider to be a classic soundtrack. This would be John Morris'
shimmering, delicate score for The Elephant Man. Released in 1980, the
film, the first commercial movie helmed by director David Lynch, is a stunner
on all counts. From John Hurt's heartbreaking and tremendous leading
performance in the lead role (Oscar should have smiled on him for this) to an
inscrutable cast that includes Anthony Hopkins, John Gielgud, Wendy Hiller, and
Freddie Jones' as the ignorant and merciless sideshow impresario who subjects
Hurt to a catalogue of human indecencies, Lynch's movie is top drawer.
Exquisitely film in black and white, the story of the poor unfortunate John
Merrick, so deformed that he is given the terrible nickname of the title seems
to perfectly align with Lynch's talents.
A huge aid to the movie's haunting overall effect is Morris' music. The film was
produced by Mel Brooks and Morris had composed witty, signature scores for
his hilarious parody movies with Young Frankenstein finding him at his comedic
peak. With The Elephant Man, he reached his dramatic peak. The score, which
grows out of the title theme (also known as John Merrick's theme) and is
repeated in variation throughout the soundtrack. Merrick's childlike nature
which contrasts with the cruel circus freak show that he was forced to partake in
coexist in Morris' delicate music box theme which is played by chimes. As the
theme progresses, a gentle oompah commences underneath, again
highlighting the circus atmosphere of the story. When Dr. Treves (Hopkins)
first visits the freak show a jolly calliope is heard as he first encounters the
barbaric treatment Merrick has been forced to endure. Then, as Merrick comes
under Treves' care, the music becomes stately, almost spiritual and reaches its
peak as the score concludes with perhaps the most superb recording to date of
Samuel Barber's "Adagio for Strings" (it's from a 1977 recording conducted by
former film composer Andre Previn). Before this lyrical piece which perfectly
matches Lynch's bittersweet ending for the film, the soundtrack provides
several changes of pace - most memorably in the nightmare cue when Merrick
is kidnapped by the freak show owner and the delightful music that
accompanies Merrick's night at the theatre as the guest of the actress played
by Bancroft.
I recall racing out to buy the soundtrack the day after seeing the movie in 1980
and I practically wore out my album. Reconnecting with the score, which is out
in a beautiful CD edition from Milan Records, has been a wonderful pleasure.
This touching, deeply emotional score is not to be missed. Morris' beautiful
score was both Oscar and Grammy nominated and remains his finest hour.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Recommendation: TBA
what I consider to be a classic soundtrack. This would be John Morris'
shimmering, delicate score for The Elephant Man. Released in 1980, the
film, the first commercial movie helmed by director David Lynch, is a stunner
on all counts. From John Hurt's heartbreaking and tremendous leading
performance in the lead role (Oscar should have smiled on him for this) to an
inscrutable cast that includes Anthony Hopkins, John Gielgud, Wendy Hiller, and
Freddie Jones' as the ignorant and merciless sideshow impresario who subjects
Hurt to a catalogue of human indecencies, Lynch's movie is top drawer.
Exquisitely film in black and white, the story of the poor unfortunate John
Merrick, so deformed that he is given the terrible nickname of the title seems
to perfectly align with Lynch's talents.
A huge aid to the movie's haunting overall effect is Morris' music. The film was
produced by Mel Brooks and Morris had composed witty, signature scores for
his hilarious parody movies with Young Frankenstein finding him at his comedic
peak. With The Elephant Man, he reached his dramatic peak. The score, which
grows out of the title theme (also known as John Merrick's theme) and is
repeated in variation throughout the soundtrack. Merrick's childlike nature
which contrasts with the cruel circus freak show that he was forced to partake in
coexist in Morris' delicate music box theme which is played by chimes. As the
theme progresses, a gentle oompah commences underneath, again
highlighting the circus atmosphere of the story. When Dr. Treves (Hopkins)
first visits the freak show a jolly calliope is heard as he first encounters the
barbaric treatment Merrick has been forced to endure. Then, as Merrick comes
under Treves' care, the music becomes stately, almost spiritual and reaches its
peak as the score concludes with perhaps the most superb recording to date of
Samuel Barber's "Adagio for Strings" (it's from a 1977 recording conducted by
former film composer Andre Previn). Before this lyrical piece which perfectly
matches Lynch's bittersweet ending for the film, the soundtrack provides
several changes of pace - most memorably in the nightmare cue when Merrick
is kidnapped by the freak show owner and the delightful music that
accompanies Merrick's night at the theatre as the guest of the actress played
by Bancroft.
I recall racing out to buy the soundtrack the day after seeing the movie in 1980
and I practically wore out my album. Reconnecting with the score, which is out
in a beautiful CD edition from Milan Records, has been a wonderful pleasure.
This touching, deeply emotional score is not to be missed. Morris' beautiful
score was both Oscar and Grammy nominated and remains his finest hour.
++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the
ARCHIVES
Next Recommendation: TBA
The cover of Milan's CD soundtrack of The
Elephant Man and a photo of John Morris
taken during around the time of the film's
release in 1980.
Elephant Man and a photo of John Morris
taken during around the time of the film's
release in 1980.
