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Filmtracks Recommends: Buy it... only if you appreciated James Newton Howard's staggered action rhythms in the film itself, or if you have an affinity for the similar, more mundane Jerry Goldsmith thriller scores of the era. Avoid it... if you expect the score to be an engaging souvenir of a film that could frankly have used a more memorable and cohesive musical accompaniment. Filmtracks Editorial Review:
With the action material firmly rooted in Goldsmith territory (resembling Capricorn One in the staggered, percussive moments), Howard provides some of the more stylish tactics of Dave Grusin and John Barry for similar films at the time for other sequences. There are jazzy undercurrents in The Fugitive that never really work themselves into the score well enough to be effective. The saxophone, bass, and piano seemingly address the elegant lifestyle lost by Kimball, thus explaining why it only exists in faint hints. On album, "The Fugitive Theme" elaborates on this style, performing the title theme with a touch of jazz that cannot compete with like-minded alternatives from Goldsmith or Barry. That theme would only be utilized sparsely throughout the score, easily receiving its most complete and satisfying performance in the harmonically rewarding resolution cue. Outside of this "redemption theme," as it could be called, Howard's score uses rhythmic motifs as his secondary ideas to propel the score. In "Helicopter Chase," "Subway Fight," and "Stairway Chase," a jagged, rising motif for full ensemble represents Kimball's panic, and while efficient in furthering the thrill of the moment, these cues aren't particularly enjoyable when separated from the visuals. The remainder of the score is quite mundane in its conservative, only mildly engaging attitude. Cues like "Main Titles," "Kimble Returns," and "Sykes' Apt." accompany scenes when Kimball is either mentally defeated of in "sneaking mode," thus handing control of the music over the realm of ambient sound design. The only exception to this tactic is a downright hip rhythmic motif for Kimball's minor victories, embodied by a cool, light rock rhythm (complete with Unbreakable-like, bold drum pad thumps and finger-clicking sounds) in "Kimble Dyes His Hair" and "No Press." The latter cue has some fluttering of the sax at the outset that is worth noting. For most listeners, however, the only true highlight of The Fugitive is "It's Over," with a slow and resolute form of the action rhythm leading to a solo woodwind and eventually full ensemble performance of the title theme in grand, bittersweet harmony. Otherwise, The Fugitive is a significantly underachieving effort floated more by the film than vice versa. **
The insert includes no extra information about the score or film. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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