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Orchestrated by:
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Thomas Pasatieri
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Co-Produced by:
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Bill Bernstein
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Release Date:
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January 8, 2002
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Availability:
Regular U.S. release.
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Filmtracks Editorial Review:
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In the Bedroom: (Thomas Newman) In the early years of his career, Thomas
Newman created a lengthy resume of small budget projects, for which he gained
the recognition necessary for him to assume the lifestyle of Alfred Newman. He
then, however, gained his largest following by creating large scale orchestral
scores for mainstream films, catapulting him into several Academy Award
nominations. But then, at the turn of the century, though still landing
blockbuster scoring assignments, Newman made a sudden and enormously contrasting
change of style, returning to a minimalistic, small ensemble approach to his big
name projects. With American Beauty and Erin Brockovich shedding
every resemblence of the scoring technique he had employed at the popular height
of his 1990's career, Newman acquired an entirely new fans base. The definition
of exactly what this "minimalism" is has been fiercely debated, with some
referring to it as "modernism" and others as the "less-is-more" approach.
Unfortunately, in the case of Thomas Newman, some of his recent scores have
employed the "less-is-less" approach, with each one getting progressively less
interesting.
It should come as no surprise, therefore, that Thomas Newman accepted the
scoring assignment to the Todd Field film In the Bedroom last year. The
music budget for the film was practically nil, but Newman (as he does with
enthusiasm) took on the challenge of creating a functional piece of music on
pennies. He has received a fair amount of praise for taking on such challenges,
as well as critical acclaim for the resulting music he produces. But there comes
a time --outside the score's functionality in the film-- when the music becomes
so constrained in volume, rhythm, and complexity that it loses all the
attributes that make it was it is supposed to be... music. As much as
traditional orchestral film score fans may dislike the American Beauty
style of electronic and percussive clunkiness, at least that style obeyed the
basic rules of music. In the Bedroom, on the other hand, has reached a
level of minimalism/modernism/etc that loses even those attributes. It is a
score consisting mostly of sound effects, droning, and the mindless meandering
of a small string ensemble. Forget any notion of theme or character; In the
Bedroom doesn't even hold true to basic rhythm or harmony for the majority
of its existence. Outside of the film (for which it may or may not function just
fine), this score is a muddled collection of sound effects and hopelessly
drawn-out whole notes for the strings. It is, perhaps, the least inspiring score
of the past several years.
What's frustrating about scores such as this is that many people will argue that
"it's brilliant for the budget he was given." No, it isn't brilliant. It isn't
even music, for the most part. There have been films of challenging dramatic
plots and no music budget before, and composers have created stark, realistic
scores that effectively extend that conflict onto album. The score for In the
Bedroom has no engaging element whatsoever. The string work is either lost,
or it plucks and strikes in the main title without harmony or reason. The vocal
performances by the Newark Balkan Chorus would be out of place except for the
fact that they are equally unlistenable in their often off-pitch performances of
deluded harmony. The album also seemingly contains sound effects or dialogue
from the film, mixed in obviously in a few places, and with subtlety in others.
The start of the thirteenth track has a (intentional?) voice cut off as an
rugged engine noise competes with the string section of the orchestra. The
finale ends with muddled sounds of sloshing water --or so it would sound. The
sound quality of the score overall is consitent with a few of Newman's other
recent efforts; the score sounds as though it was recorded underwater. Its dull,
echoing sound furthers the wandering and lost characteristics of the
composition. Overall, an easily missed score. *
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Viewer Ratings and Comments:
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• 1. Houses (0:43)
• 2. Cannery (Main Title) (1:37)
• 3. Can't Sleep 2 (0:58)
• 4. VFW (1:09)
• 5. Baseball (1:13)
• 6. Zeni Me, Mamo (3:14)
• 7. Blocks (2:05)
• 8. Henry (1:49)
• 9. Line Divided (0:52)
• 10. Can't Sleep 1 (0:40)
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• 11. Last Call (1:35)
• 12. OJ Savice (1:55)
• 13. Thirteen (1:07)
• 14. North on 73 (2:37)
• 15. Swingbridge (1:24)
• 16. Drive Back (1:05)
• 17. Dobro Dosle ( 0:35)
• 18. Down East (1:21)
• 19. In the Bedroom (End Title) (4:32)
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The insert includes a list of performers
in the partial Hollywood Studio Symphony and a note from the director of the
film.
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