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In the Bedroom

Composed and Co-Produced by:
Thomas Newman
Orchestrated by:
Thomas Pasatieri
Co-Produced by:
Bill Bernstein


Label:
Varèse Sarabande
Release Date:
January 8, 2002


Also See:

Pay it Forward
Erin Brockovich


Audio Clips:

11. Last Call (0:30), 147K in_bedroom11.ra

13. Thirteen (0:29), 145K in_bedroom13.ra

17. Dobro Dosle (0:29), 146K in_bedroom17.ra

19. In the Bedroom (0:31), 155K in_bedroom19.ra



Availability:

  Regular U.S. release.


Awards:

  None.









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In the Bedroom

Audio | Availability | Viewer Ratings | Tracks | Viewer Comments | Notes & Quotes
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  Avg. Rating: 3.50

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Filmtracks Editorial Review:

Newman
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. *




   Viewer Ratings and Comments:



   Track Listings:
Total Time: 30:40

    • 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)
    • 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)




   Notes and Quotes:

    The insert includes a list of performers in the partial Hollywood Studio Symphony and a note from the director of the film.







All artwork and sound clips from In the Bedroom are Copyright © 2002, Varèse Sarabande. The reviews and notes contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 1/24/02, updated 1/14/03. Review Version 4.2 - PHP (Filmtracks Publications). Copyright © 2002-2008, Christian Clemmensen. All rights reserved.