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| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
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1. Nim's Island 2. The Life Before Her Eyes 3. Horton Hears a Who! 4. Leatherheads 5. The Spiderwick Chronicles | . | . |
1. Moulin Rouge 2. Gladiator 3. POTC: Curse of the Black Pearl 4. Star Wars: A New Hope 5. Edward Scissorhands |
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1. Varèse Sarabande 25th 2. The Last of the Mohicans 3. Legends of the Fall 4. Schindler's List 5. LOTR: Return of the King (Set) |
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Filmtracks Recommends:
Buy it... if you seek perhaps the best and boldest theme of Trevor Jones' career, along with remarkably erotic vocals over a powerful orchestral score. Avoid it... if an infusion of exotic new age style into that massive orchestral construct is too disparate for you to accept in a Roman and Egyptian setting. Filmtracks Editorial Review:
If you've previously been impressed by Jones' well known epic themes for Last of the Mohicans, Cliffhanger, and others, then you will not be disappointed by Cleopatra's primary theme. In fact, the very similarly styled progressions of the theme for this film, while bordering on self-plagiarism in some regards, are better orchestrated and performed in Cleopatra than in any of Jones' other major scores. That includes Merlin, a previous entry in the Hallmark series for which Jones' score is highly regarded by all. Simply put, Cleopatra is better. A resounding bass, wild percussion section with a bed of varied drums, and bold solo female voice get in on the string-over-brass-counterpoint standard for Jones' masculine themes. That theme is given a more varied treatment in Cleopatra than the rather static one for Merlin, which repeated only in nearly identical form. In Cleopatra, a variety of much stronger secondary themes grace the score, including a sultry love theme for the primary lovers and a forceful march for Rome and its senate. The title theme is presented in full ensemble ruckus at the opening and closing of the album, along with some satisfying variants in between, including a heartbreaking string rendition in "To Speed You on Your Way." The love theme would be at home in any late 90's new age album, performed with much allure by the solo voice of Belinda Sykes. She also performs the shawm, which is the primary specialty instrument in the score. Essentially a descendent of a traditional Egyptian oboe, the shawm has a distinctly foreign and slightly electric, but extremely smooth sound. Its solo performance at the outset of "The Eye of Horus" is powerful in its resolve, and a true joy when merged with the equally forceful solo voice. The major performance of the love theme exists in "Egypt is Yours for Only One Day," a simply gorgeous new age track that introduces the delicately balanced role of the keyboarded electronics. Jones has a clever way of incorporating the electronics (along with a very wet mix of the vocals) in such a way that the synthetic side of the music doesn't interfere with the authenticity of the era. The orchestra would combine with these elements for a reprise of the love theme in "Temple of the Sun." Another subtheme introduced in "The Tomb of Kings" is a distant cousin of the title theme and it brackets an eerie synthetically-aided performance of that title theme, rolling with humble percussion to an eloquent conclusion. The Roman music is a bit predictable, beginning with noble trumpet fanfares and often extending over a martial rhythm led by snare, timpani, and chopping bass strings. Parts of "Rome Decrees" and "The Roman Forum" stir up the same wild, noisy brass action that woke up neighbors in Dark City. Some of the most interesting parts of Cleopatra are those that alternate between the elements of the orchestra and the specialty instruments for Egypt. Jones accomplishes this balance intelligently as the two cultures and their rulers work their irregular diplomacy. Also working in his favor is his ability to adapt fragments of his themes seemingly effortlessly into any part of the score, sometimes masked as counterpoint. The fluttering nature of the shawm and vocals offers an almost creepy and mysterious Arabic feel to the sharp London players. Despite featuring ten or so minutes of simmering, slightly erotic underscore in its latter half, the album is a remarkably engaging listening experience. The performances of the title theme could use some additional reverb, especially with the force of the percussion in the forefront, and you'll be rewarded by playing with their mix yourself on a PC. The album was a pseudo promo released through Jones' own label (in similar fashion to his Dinotopia score), and was available for a short while at online retailers. It has since disappeared from the market, but you'd be well served by a copy even at a higher price. With such a fascinating and enjoyable run of 55 minutes on that album, with all of the cues of substantial length and substance, the score begs for a full release. Cleopatra is Jones' consistent creativity and intelligence on display at every moment. Avid fans of the composer need to research this score without fail; it would be among the top five of 1999 if composed for a widely released theatrical film. *****
The colorful insert contains a short note about Jones' career. Track names can only be found in the center of the insert, and no track times are provided. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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