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Filmtracks Editorial Review:
The fact that the grandiose style of Barry's score was unnecessary in the first place is what makes it a classic. Left by the director and producer to compose whatever would be appropriate for the film, Barry decided write a dark, menacing, gothic score... a style which cannot be classified with either his early jazzy works or his later lush romances. He masterfully captured the brutal sounds of the Middle Ages, while still adhering to the domination of the Catholic Church. In the story, the tumultuous family bickering that occupies the entirety of the film is governed by the overarching guidance of the Church in Rome, so even as the members of the Royal Family are on the verge of killing each other, they continuously threaten to go to Rome and seek permission to have the others struck down. Despite the nearly pagan practices of the characters, not excluding the banishment, adultery, and homosexual tensions, there is a faintly angelic feeling to the whole film. Barry responds by including a few original songs of his own, religious is stature, as well as the use of Church bells in several cues. While the bells can only be seen in a handful of scenes, the stomping and arguing that continues between the Royal Family in the bowels of their dirty castle is always highlighted by Church bells. Sometimes they are tolling in the distance, a grim accompaniment to the trumpet solos throughout, and sometimes they chime in with full mass. When the hardened producer of the film first heard Barry's approach to the film, he was reduced to tears of joy. The more memorable half of Barry's work for The Lion in Winter, however, is that which gained him the Oscar for his efforts: the brooding representation of the Middle Ages. This score is often classified as a choral soundtrack, and rightfully so, but there are two distinct uses of the chorus. When The Voices of The Accademia Monteverdiana perform, they are either reciting Latin lyrics written specifically for the film, or they are providing wordless accompaniment to the full orchestra. The songs with Latin lyrics can often become shrill in tone, but putting them aside, Barry's melding of the pounding orchestra and the Latin and wordess chants is nothing short of stunning. The opening titles, compensating for a unremarkable series of visuals of gargoyles and other nasty stone works, is among the best opening statements of theme of all time. The relentless timpani, alternating piano in the bass, and noble, but disturbing brass --together with the magnificant chants-- perfectly prepares the audience for the pure evil they are about to witness. The chants are so menacing and simplistic that they have been compared in their ability to frighten to Goldsmith's The Omen. Barry continues to use the bass heavy orchestral bombast to accentuate the disgusting depths of the castle in which the story moves around. There are several scenes in which a character has made a major decision, and then decides to stomp around the castle; these scenes were a feast for Barry, who used every opportunity to let loose on the brass and the chorus. Finally, the music meant specifically for the banished, wicked Queen is superb, with a false major key theme of elegance marking her entrance and exit, interrupted by ominous bursts from the male chorus. Most impressive about The Lion in Winter is its continuing ability to impress on video and album. It a timeless and unique entry in Barry's career, and an undeniably enjoyable film. The quality of the original recording is decades beyond its time, allowing Barry's original cues to rival today's digital scores in presence and power. The albums of the original score, released first by Varèse Sarabande and then more widely by Sony Legacy/Columbia, are suprisingly vibrant for the age of its material. In 2001, Silva Screen released the City of Prague Philharmonic and Crouch End Festival Chorus' re-recordings of several John Barry scores, under the masterful conducting of Barry-expert Nic Raine. On their album for The Lion in Winter, they present the complete score, including the additional cues of "Richard's Joust/Geoffrey's Battle" and "Fanfare for Philip/The Great Hall Feast," both of which are relative early in the film, and the latter of which is a very enjoyable addition to hear on CD. Despite the new HDCD digital recording quality of the Silva album, there is an intangible aura of menace and fright that still exists in only the original London recording. The Silva CD has the extra incentive, however, of a handful of re-recorded cues from Mary, Queen of Scots, a more mellow, but elegant score by Barry. While missing a few key cues from that score (most notably the "Journey to England" cue), it is refreshing to hear it performed in the digital medium. As for The Lion in Winter, you can't lose. Not only do I recommend that you watch the film, but if you like the music, I also recommend that you purchase both albums. It is an enduring classic.
Music as Heard on the 1995 Original: ***** Music as Heard on the 2001 Re-recording: *****
Both inserts contain lengthy notes about the movie, score, and composer, as well as lyrics and translations of the Latin text. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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