DVD The Italian Job on DVD

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• Dolby Digital 5.1

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The Italian Job

Composed, Programmed, Arranged, and Produced by:
John Powell
Conducted by:
Pete Anthony

Label:
Varèse Sarabande
Release Date:
June 24th, 2003

Also See:

The Bourne Identity

Audio Clips:

4. Boat Chase (0:30), 150K italian_job4.ra

8. Cable Chick (0:30), 150K italian_job8.ra

12. The New Plan (0:29), 146K italian_job12.ra

13. Tunnel Run (0:30), 150K italian_job13.ra

Availability:

  Regular U.S. release.


Awards:

  None.








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The Italian Job

Audio | Availability | Viewer Ratings | Tracks | Viewer Comments | Notes & Quotes
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Filmtracks Recommends:

Buy it... if you work well to smooth, cosmopolitan scores with stylish electronic rhythms and styles.

Avoid it... if the score's later tendency to digress into flamboyant and downright vigorous electronic action motifs is a deterrent for you.



Filmtracks Editorial Review:

Powell
The Italian Job: (John Powell) In this remake of the 1969 film of the same name, the only true crossover from the first film to the second are the fashionable Mini Cooper cars that are pivotal in an escape sequence because of their very small size. Some viewers have argued that the Mini Coopers have more charisma than the stars of the film, but most others would say that the film, regardless of its acting, is a classy and well executed heist flick. The majority of fans have certainly enjoyed the film; it remained several weeks near the top of box office charts. Demand for the contemporary score by John Powell also swelled during the first month of the film's release. Powell is quickly establishing himself as an artist more highly in demand than any of his peers at the Media Ventures complex run by Hans Zimmer. Aside from his light comedy scores, Powell has been venturing further into the straight action genre, with a disappointingly incoherent score for The Bourne Identity only a year previous to The Italian Job. For this new heist film, however, the element of sophistication in the complexity of the robberies taking place on the screen led to a different approach from Powell. After all, in a film that features the mass rigging of traffic lights on a city-wide scale (as means, of course, of escaping from those pesky Los Angeles police), the score has to hit a reciprocal stride with stylish energy and pizzazz. Powell's response is a score that will remind listeners very much of the style of contemporary artist David Holmes, whose score for Ocean's Eleven struck a similar chord for a comparable film. The resulting electronically based underscore is rhythmically flamboyant and downright vigorous during moments of high speed chasing. That modern edge would lend a continued cosmopolitan, smooth and gregarious seasoning in the updated rendition of this old story.

Representing the minds and actions of lovable criminals is a task that Powell accomplishes well in The Italian Job. His primary instrument is his array synthesizers, with an electronic beat, percussion, guitars, and keyboarding constituting the majority of the effort. The cohesive element is obviously the series of rhythms that Powell utilizes well throughout the film. Even in the softer moments, the rhythms that sit at center stage during action scenes are omnipresent in the background. Thus, the churning minds behind the plot of the film are constantly in motion, and the score reflects that pace. To infuse the blockbuster with more power, Powell hired a partial orchestra (full strings and brass, with one percussionist and no woodwinds) to elevate a handful of cues to the status of elegant high style (culminating in "The New Plan"). He also lets rip with electric guitars and more heavy metal-inclined cues for rocking sequences of disbelief like the almost ridiculous "Tunnel Run." The rhythms become more forceful in their ferocious synthetic behavior as the film reaches its climax, allowing the sophistication to drain slightly from a score that was otherwise very streetwise in its first half. On album, the first half of the score will play much like a David Holmes underscore, with more power behind the rhythms due to a larger ensemble. The latter half of the score begins to digress in its more primitive emotional expressions, but given the payback that being exacted in the film, such a transition to feverish success could be expected. The score returns briefly to the more stylish, smooth attitude in the final victory cue. On the whole, The Italian Job is a considerably improved and successful score for Powell over The Bourne Identity because the more recent score is rich with interesting rhythms that maintain a mood for a much longer period than before. Bridging the gap between techno and orchestral action fans, The Italian Job is a good candidate for a background listen during other activities. ***

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   Viewer Ratings and Comments:



   Track Listings:
Total Time: 42:26

    • 1. Opening Titles (2:05)
    • 2. The Italian Job (1:48)
    • 3. Venice Gold Heist (4:40)
    • 4. Boat Chase (4:47)
    • 5. Mourning John (1:04)
    • 6. Planning the Heist (2:50)
    • 7. Pawning the Gold (1:57)
    • 8. Cable Chick (2:37)
    		 • 9. Getting the Axe (2:16)
    • 10. The Devil Inside (1:52)
    • 11. Bitter Suite (1:59)
    • 12. The New Plan (5:08)
    • 13. Tunnel Run (2:13)
    • 14. Chopper Chase/Face-Off (2:58)
    • 15. Golden (4:05)
   Notes and Quotes:

    The insert includes a basic list of performers, but no extra information about the score or film.







All artwork and sound clips from The Italian Job are Copyright © 2003, 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 6/23/03, updated 6/24/03. Review Version 4.2 - PHP (Filmtracks Publications). Copyright © 2003-2008, Christian Clemmensen. All rights reserved.