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Filmtracks Editorial Review:
Bernstein is the only well-established composer from that era who is still living and able to work in 2002. While his scores for the 1950's were more inclined towards jazzy hits, he also produced a few early scores along these melodramatic lines, making him the only viable candidate to score Far From Heaven if the director wanted that truly authentic feeling of atmosphere in which to incubate his storyline. The only other active composer who might have been able to successfully capture that spirit was Jerry Goldsmith, who came in at the latter half of that genre of scoring, and may have been able to produce something with similar emotions to A Patch of Blue with a more robust urban theme. Bernstein, with five decades of composing for major features and the classic To Kill a Mockingbird under his belt, however, was the perfect fit for Far From Heaven. Even if you cannot appreciate the smaller substance of this score in either the film or on album, you need to understand that this score was a winner the moment that Bernstein was hired for the project. It is ironic that he had had his work rejected from several recent mainstream films because his methods and sounds were outdated (according to the directors and producers of those films). In this case, being outdated is the best possible scenario, because the authenticity of the music that Bernstein has produced for Far From Heaven is both excellent and well-suited for the genre of the 1950's melodrama. The score is emotionally compelling on a personal scale, sparingly utilizing sections of the orchestra while highlighting the rich piano performances of Cynthia Millar. Bernstein notes that the importance of the piano is accentuated by the fact that such an instrument would be readily found in the exact kind of household that is portrayed in the film. At the same time, if you have not listened to a handful of this genre of scores before, you may not be prepared for the sensible but simple melancholy of this small, string-woodwind-piano kind of work. The title theme is restrained in its full statements (notably in the first and final tracks) by an uncertainty and yearning experienced by the characters in the film. That may make the score frustrating for modern listeners, but that understated nostalgia is central to the score's effect. Yes, it would have been nice to have heard a few more readily noticeable swells of that grand Bernstein style of theme that many golden-age film score collectors remember well, but the film apparently did not allow for such development. It is a gentle character-driven score, with subdued romance and melodies that require your appreciation even if not your enjoyment. What certainly should also require your appreciation is the presentation of the music on album. The album presents a more than adequate 45 minutes of music and includes detailed liner notes from both the director and the composer. As an extra highlight, the album offers a full three-page collection of color photography from the studio recording sessions. The only glitch on the album is the absence of a "track 7" on the packaging for the album. Corrected track listings below account for the missing track "Psych" and rearrangement of tracks 5-7. Overall, this is a score that is gaining significant positive attention from mainstream film critics, and do not be surprised if you see this score among the Oscar contenders in March of 2003. The score for Far From Heaven is a remarkable journey to the past, and even if it doesn't appeal to the somewhat desensitized ears of modern film score listeners, it earns respect with its precise and emotionally encapsulating pastoralism. ****
Note: Track listings on packaging are incorrect
Insert includes detailed notes from both the director and composer, as well as a list of performers in the Hollywood Studio Orchestra for this score. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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