SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Venom
    2. House With a Clock/Walls
   3. The Nun
  4. Crazy Rich Asians
 5. The Meg
6. Christopher Robin
   CURRENT MOST POPULAR REVIEWS:
         1. Edward Scissorhands
        2. Jurassic World: Kingdom
       3. Batman
      4. The Predator
     5. Gladiator
    6. Mission: Impossible - Fallout
   7. Solo: A Star Wars Story
  8. Apollo 13
 9. Ant-Man and the Wasp
10. The Equalizer 2
Home Page
Menu Options ▼
Comments about the soundtrack for Enemy at the Gates (James Horner)

Edit | Delete
Re: Can you say rip off?
• Posted by: Dan Sartori   <Send E-Mail>
• Date: Friday, April 19, 2002, at 8:11 a.m.
• IP Address: p-proxy-4-int0.net.wisc.edu
• In Response to: Re: Can you say rip off? (Mark)

> First of all, I must say that there are few grounds for "suing"
> because quoting other music is to an extent pretty common in film music.
> However, I do think that the theme is noticeably similar to Schindler's
> List.

This is definitely true.

> Braveheart is also not the best soundtrack ever created, and though
> endless debates could go on all year about this, Braveheart is certainly
> not one. It has a very moving theme that works very well in the film, but
> it sounds a lot like other Horner scores and is a bit boring on CD except
> for the few interesting tracks.

You have obviously not listened to the soundtrack, or if you have, you have only listened to it once or twice. Have you seen the movie, too? Because much film music can only be fairly judged in conjunction with the movie that it was written for. Track 17 of the CD is one of the single most moving pieces ever composed by Horner. It is much of the reason that the final execution scene in the movie is as touching as it is. I know it is harder for us to understand soundtracks like this one because of all the folk music involved, but I think once you actually sit and try to let this score get down deep inside of you and affect you, it will move you deeply.

E.T., Schindler's List, CutThroat Island,
> Star Trek VI, Legends of the Fall, Hook, Edward Scissorhands, Dances With
> Wolves, Anna and the King... You could go on all year naming some of the
> best CDs in history.

Some of these I have never heard of. Who did Cutthroat Island and what year was it made? And why exactly is Schindler's List better than a classic soundtrack like The Land Before Time, which had a much more complete theme?

> How can you say that Horner doesn't rip himself off? Try comparing the
> first track of "A Beautiful Mind" to the first track of
> "Bicentennial Man"! Horner is notorious for that, though some
> diehard Horner fans still attempt to convince themselves that Horner is a
> God...

Completely untrue. The first track of a Beautiful Mind is an expansion of a theme that he only flirted with in the beginning of Bicentennial Man. The site reviewer, Christian Clemmensen, even said that he was glad to hear this theme come back in one of Horner's later scores. Now, I am not Horner's defense attorney, and I know that Horner is often rightfully accused of overusing certain themes. I would say that of all the film composers of the modern day, Horner is the most guilty of this. However, other composers use this technique much more often than you realize. Take, for example, John Williams' Duel of the Fates. That piece is constructed almost identically to the last movement of Carl Orff's Carmina Burana. In fact, I know both pieces quite well, and I sometimes find myself mixing them up in my head. Now, I am NOT talking about the order of the notes in the theme, I am talking about the construction of the piece as a whole. John Williams must have written the piece after listening to Orff that morning. I admire Duel of the Fates, but it is not as original as you think it is.

In addition, it is important that you separate each soundtrack from the rest of the composer's works and consider each as a distinct piece of art. If you sat down and attempted to listen to the Braveheart soundtrack without figuring out exactly where it contains similarities to the rest of Horner's music, you would discover that it works quite well on its own.

> P.S. Boy choirs often sing lots of different types of music, from Film
> Scores (of course) to chamber music to popular/contemporary music.

I know, but the point I was trying to make is not that they can only be used in one scenario, but that every composer knows what a boys' choir sounds like and including a boys' choir in a soundtrack now, while it may work well with the score, has ceased to be original. People need to understand that every composer has his strengths and weaknesses, and that if you can't get over a certain composer's weaknesses, then you shouldn't buy his music. I just don't want anyone to pass off something that is genuinely moving as great art just because they've heard it somewhere before. Thanks for reading and responding!

Dan




Comments in this Thread:     Expand >>


Copyright © 1998-2018, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast,
rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. Scoreboard created 7/24/98 and last updated 4/25/15.