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Orchestrated by:
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Alexander Courage
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Release Date:
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July 25th, 2000
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Availability:
Regular U.S. release.
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Filmtracks Editorial Review:
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| | Goldsmith | |
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Hollow Man: (Jerry Goldsmith) Continuing a working relationship with
director Paul Verhoeven that previously included such rich scores as Total
Recall and the Oscar nominated Basic Instinct, Jerry Goldsmith
tackles the score for Hollow Man, a film with a slice of gore from the
former and a slice of sensuality from the latter. Also with a rich background in
the horror and science-fiction genres, Goldsmith produces a score of significant
volume and energy for Hollow Man. While succeeding in the functionality
of the music for the film, an experienced Goldsmith fan will likely find nothing
new to become excited about this time around. Pounding action sequences often
feature slurred brass, screeching and cascading strings, and an array of timpani
to shake the floors. In the theatre, this timpani carries a disproportionate
load of the suspense over the rest of the players.
Most of Goldsmith's previous horror/sci-fi scores have offered a unique
orchestration, thematic move, or interesting accompaniment to distinguish that
score from his numerous others. Hollow Man's score begins with its sole
individuality: an electrical tingling of a futuristic scientific laboratory --a
cool concept-- but even though Goldsmith employs synthesized passages during the
score, the electrical feeling never amplifies into a substantial element.
Compounding the score's lack of uniqueness is its lackluster theme. One of the
truly great aspects of superior Goldsmith scores is a strong thematic element to
help make you clutch your seat --from the heavy chorus of The Omen and
the light chorus of Malice to the jumping and winding strings of Basic
Instinct and The Haunting. Instead of providing a more sophisticated
method of terrifying the audience, the music for Hollow Man takes the
cheaper route of simply pumping up the brass and timpani to get the blood
flowing.
The album begins promisingly, with a running time of over 50 minutes
--which is a rare event for this label (though there should be nothing
surprising about the length this time when considering that it was recorded
overseas). The first track is substantially the only music of interest on the
album. The main theme, which is mainly abandoned throughout the rest of the
album, builds up much like Goldsmith's theme for Basic Instinct (in fact,
there are note-by-note similarities in the first few bars) and experiences one
excellent fifteen second performance with brass underlay. The character theme
(track three), usually a plus in any Goldsmith score, is unexpectedly timid. The
sound quality, while still good, is not as crisp as his scores of the past few
years (from Small Soldiers to The 13th Warrior). With only the
first few minutes of music entertaining to the same degree as other Goldsmith
efforts, Hollow Man is fourty-five minutes of uninteresting crashes and
bangs, with even a few painful sequences. Overall, not at all does the score
live up to the enormous hype it generated in the months prior to its release. **
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Viewer Ratings and Comments:
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• 1. The Hollow Man (3:02)
• 2. Isabelle Comes Back (6:04)
• 3. Linda & Sebastian (2:57)
• 4. This Is Science (6:17)
• 5. Not Right (2:42)
• 6. What Went Wrong? (1:44)
• 7. Broken Window (3:01)
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• 8. False Image (1:58)
• 9. Hi, Boss (2:49)
• 10. Find Him (4:38)
• 11. Bloody Floor (9:57)
• 12. The Elevator (3:01)
• 13. The Big Climb (3:06)
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Insert includes no extra information about the score or film.
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