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Filmtracks Recommends:
Buy it... if you are typically drawn to classical crossover scores of restrained beauty and are lured by solo violin performances of austere distinction. Avoid it... if you expect substantial variance or dramatic inflection in Howard Shore's thematic development, leaving instead a score that is potentially stagnant in its consistency. Filmtracks Editorial Review:
For much of the score, Shore avoids a powerful presence in the bass region, never really providing the violin with a substantial backing. Only in the latter half of the opening cue and in the impressively conclusive brass statement of the title theme in "Trans-Siberian Diary" does any significant sonic depth exist in Eastern Promises. Interestingly, the score is also largely devoid of troubling passages, with restrained and smooth sailing until the turbulence of "Nine Elms" conjures some of the tension from A History of Violence. The Russian Army Choir's performance of a traditional piece in "Slavery and Suffering" is a licensed inclusion and disrupts the flow of the album with a differing sound quality. The second theme in Eastern Promises exists for the dead prostitute whose diary tells her story throughout the film. Debuting in "Tatiana" and repeating less often than Shore's primary idea for the film, this one is arguably more enticing and it lends itself better to the slight incorporation of percussion and other elements meant to represent the Russian influence on the music. Those elements are otherwise mixed with such a slight presence that they make practically no impact on the score, with the balalaika in particular almost lost completely. The cimbalom, santoor, and accordion, among other specialty instruments, leave no impression that can compete with the violin, though the numerous clarinet solos fare a bit better. On the whole, the score may seem a bit one-dimensional, especially with the constant statements of the primary theme, the lack of alteration to that theme, and the dominant presence of the violin. But the strength of the score for Eastern Promises is that same consistency, with a distinct and easily listenable tone maintained throughout. While it may not have the same emotionally charged appeal of other scores that have attempted the same restrained beauty, it contains enough style to warrant an album purchase and lure the votes of awards-givers. Look for this score to succeed as a crossover product as well, appealing to collectors of classical music. The commercial album is joined by an alternative iTunes release that offers an additional four-minute cue of moderate interest. It's an impressive score overall, but Shore surprisingly missed a slam dunk with the lack of variance and dramatic inflection in his thematic use. ****
* track initially only available for download at iTunes
The insert includes a synopsis of the film's plot and a note from Shore about the score and film. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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