Filmtracks Recommends:
Buy it... if you seek one of the most rhythmically and instrumentally creative scores of the digital era, and the highlight of the first dozen years of John Ottman's mainstream composing career. Avoid it... if you are easily overwhelmed by wildly percussive scores that dazzle you with their fiendishly executed diversity of sound. Filmtracks Editorial Review:
Incognito: (John Ottman) This is one of those examples of a movie concept that should achieve cult status, but instead failed so miserably at the box office and thereafter that you have to sit and contemplate where it all went wrong. The concept of Incognito involves Jason Patric as one of the world's foremost forgers of classic paintings. When he decides to paint one last Rembrandt and pass it off as real (so that he can retire on the earnings), he gets caught up in the murder mystery surrounding the potential buyer of the painting. He has to prove his innocence by painting a Rembrandt in court, leading to one of the more interesting court scenes ever put on film. There's also a fair amount of chasing in the film as well. The task of scoring the project for rising talent John Ottman was one of infinite possibilities, and he took advantage of every last drop of creative energy in his system to write one of the most truly original scores in the digital era. The 1990's were known as the era of Ottman's most original works, with many of his scores like Incognito existing as hidden gems for fans only familiar with his superhero scores of the 2000's. Many collectors of the composer's works still, after ten years since Incognito debuted, consider the score to be Ottman's best achievement. It's difficult to argue with that assessment, for Incognito defines Ottman's early success with its wicked, deviant sense of style... a style that many film music collectors wish Ottman would rediscover. Incognito is a score that proves that less can indeed be more, for Ottman's ensemble consisted of only a modest 60 Seattle players. But the incorporation of a wild array of specialty instruments, the use of an old church as a recording location, as well as a controversial recording mix all give the score a sound unique to itself. In an era when film scores all begin to sound alike, and references can be drawn with ease between the new and old, Ottman's Incognito is a breed of animal unlike most others. In no other score of the digital era has a composer so perfectly merged the classical and modern styles, from the baroque to the contemporary, with such fluid precision. Waltz rhythms lead a tandem of themes that join the painter on on his journey to becoming Rembrandt, using each section of the musical ensemble like another color on the palette. The instrumentation of Incognito is truly astounding, and the mix of the elements together places each performance at equal gains. Solo performances from the traditional ensemble are often highlighted by woodwinds, while the string section is in perpetual conflict with itself. The strings chop through staccato rhythms with several layers of activity, some plucked, and they alone create the whirlwind of atmospheric whimsy that prevails in the attitude of Incognito. The brass section is less obvious, often restrained to solo performance by bold mid-ranges, muted trumpets, or the snazzy saxophone. That latter two are crucial in conveying the more modern noir side of the film's chases, and the sax alone gives the score a significant injection of style. The percussion and cleverly utilized electronics are the superstars of Incognito, however. For the straight classical feel, Ottman employs a harpsichord (which whips with the kind of fury that you rarely hear from the instrument these days), piano, triangles, chimes, and bells, each given significant solo roles on top of the ensemble during various moments of rhythmic frenzy. The piano's meanderings in several cues will remind of similar tip-toeing in The Usual Suspects. Because the film is linked inevitably to Spain in its conclusion, Ottman doesn't fail to let loose with the Latin flavor, and it is this distinct influence that makes Incognito a fiendish delight. An acoustic guitar is joined by woodblocks, rattles, tambourines, castanets, and maracas that become more prevelant in the score's remarkable concluding tracks. Any classically structured score with these Latin instruments is just asking for trouble, but Ottman miraculously pulls it off. Ottman also uses two neutral elements with great effect; first, his trademark choral sound was likely synthetic at this time in his career, but its usual deep tones only add to the mystique of the score's aura. Secondly, he conjured the sound of a whip, likely electronically, and this whipping sound is expertly included as an equal member of the ensemble. His themes are equally strong. Catchy in their movements, they are elegantly harmonic and flow with grace and distinction. They expand on the Gothic nature of the title theme from The Usual Suspects and give it some rambunctious rhythms to follow. The two "Creation" cues will feature the primary theme as best remembered from the film, but the two opening and two closing cues are even more ingenious in their presentations of Ottman's themes. It is a dense score, with so much activity at every moment that it can easily tire the listener. Slower moments in the score are equally creative in instrumentation, still demanding your attention. The only detractions come late on the album, with the "A Murder?" and "Bad Deal" cues offering the few moments of shrieking dissonance. One of the more controversial aspects of Incognito has been its album mix. On its 50-minute album, the music was given a very treble-heavy presentation, allowing the specialty instruments --especially the metallic ones-- to shine with great clarity. While this does add to the unique sound of the score (and the listener can amplify the bass to counter the album's presentation), it causes some elements to lose their natural tones (and sound tinny). The sax, for instance, can sometimes be confused with the sound of a harmonica. Ottman was not satisfied with this presentation, despite the clarity of the recording otherwise being nothing less than stunning, and when he discovered the original masters for the score within a few years, he allowed them to be used for three cues on the Cruel Intentions compilation album of his works three years later. There has been an indication that he would someday like to provide a more balanced mix of Incognito's entirety on album, and his fans would certainly welcome it. In the meantime, the original album for this score is still nothing less than a marvelous display of creativity. ***** Track Listings:
Total Time: 49:47
All artwork and sound clips from Incognito are Copyright © 1998, BMG Music/RCA Victor. 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 7/30/98, updated 7/6/07. Review Version 4.1 - PHP (Filmtracks Publications). Copyright © 1998-2013, Christian Clemmensen. All rights reserved. |
