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Hellboy on DVD
• Music commentary • Dolby Digital 5.1 More DVD info... |
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Hellboy on DVD
• Music commentary • Dolby Digital 5.1 More DVD info... |
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Filmtracks Recommends:
Buy it... if you've been waiting to hear Marco Beltrami extend his orchestral and choral talents to both majestic and carnivalesque ends. Avoid it... if the letterbook style of comic book hero scores has too much formula built into it for your liking, or if you detest wild theremins! Filmtracks Editorial Review:
Such is the case with Hellboy, which strictly orchestral film score fans will likely enjoy more than nearly all other Beltrami works. There's nothing better than the flexibility of comic book score writing to bring the best and brightest of fully orchestral mayhem out of a composer, and Beltrami does not disappoint. If the size of the score --compared to Beltrami's usually more subdued ensembles-- doesn't impress you, then the creativity of the writing will. His score is complete with the usual, straight-forward orchestral hero theme, and yet, the more intriguing aspect of Hellboy is the sense of style that Beltrami injects into the equation. Not only does Hellboy exist and kick butt, but he also does it with a confident style of swing and elegance... a distinct swagger of sorts, and Beltrami writes this style into his score by utilizing tango rhythms, operatic vocals, and swooshing strings. He also indulges us on the "coolness" of the primary characters by throwing in the obligatory, but entertaining electric guitar rhythm in the main titles that, at the start, would make you swear that Clint Eastwood was lurking behind some dark corner. A sensitive subtheme on strings for Hellboy and his pyrokenetic love interest is well developed in several places. Beltrami also dances into the bizarre end of the spectrum with a wailing theremin in several cues, going so far as to combine it at very low ranges with a jazzy female vocal in the final cue. That last cue, incidentally, is where Beltrami takes a page from early Danny Elfman in sheer craziness of rhythm and instrumentation, perhaps leaving the listener with the false impression that the score he/she just heard was a wacky and deranged piece of music. In parts, Beltrami does offer a carnival atmosphere. But the memorable sequences are still those largely orchestral and choral cues that make up the substantial base of the music. Conversely, some of the staccato arrangements of brass during fight sequences is where the score loses some ground, moving at speeds difficult to tolerate for their volume. On album, Hellboy is a well-balanced 45 minutes. For film score enthusiasts waiting to hear Beltrami apply his orchestral talents to both majestic and quirky ends, this album is your chance to hear just that. An impressive comic hero's score. ****
Insert includes a note about the score by the director and a list of performers. Track times listed on the packaging may not be correct. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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