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Filmtracks Recommends:
Buy it... if menacingly religious horror music with a dash of alluring operatic beauty is your delight. Avoid it... if weighty brooding in the orchestra's lower ranges is just too creepy, or if Wojciech Kilar's jaunty theme for the Corso character sounds too out of place in film and on album. Filmtracks Editorial Review:
Several themes and minor motifs grace The Ninth Gate, each with a distinct purpose. While the film's story may be difficult to grasp at times, Kilar's score is relatively straight forward. The temptation theme, otherwise utilized by Kilar as a representative of his famously brooding capabilities, is a slowly churning string rhythm that slowly builds to a frenzy, with a processional movement well suited for the orgy-filled Satanic gatherings in the film. This theme most often accompanies the three copies of the coveted book at the heart of the story. As the encounter with the Devil draws nearer at the end of the film, a more crazed theme replaces the title piece, using bass region woodwinds and brass in lengthy whole note performances under an ominous snare and male chorus. The choral chants in "Balkan's Death" and "Corso and the Girl" include contributions by Sumi Jo, whose role will be discussed further below. The only somewhat awkward choice by Kilar is the snappy little theme for Corso (the investigator), with prancing rhythms performed by harpsichord and plucked strings under an almost comical trumpet theme. There is good humor in this theme, and as the chase becomes more perilous later in the film, this theme is slowly dissolved by Kilar. But it's difficult to figure exactly why Kilar wanted to identify the Corso character with such a frivolous theme. Perhaps Corso was meant to be a bumbling fool of sorts, and the film occasionally treats him as such. Comparisons to the bouncing, jovial spirit in Elmer Bernstein's primary Ghostbusters theme are bound to result. The final major aspect of the score for The Ninth Gate is Jo's voice, which represents the "guardian angel" of dubious intentions. Her performances coincide with the angel's saving acts, including "The Motorbike" and "Blood on his Face," and the increasing role of the angel in the film equates with a elegantly creepy, alluring series of performances by Jo in the film's final four major cues. The pivotal sex scene music heard in "Corso and the Girl" combines the temptation theme with Jo's vocals for Corso's inevitable (and somewhat terrifying) relational consummation with the Devil. Over the end credits, Kilar writes a longing, melancholy theme specifically for Jo's voice; opening with piano and harpsichord as accompaniment and eventually encompassing the full orchestral ensemble. In between the statements of theme in the film are a mixture of smaller motifs, such as the seductively ominous high strings for "Liana," and a series of rather static action cues. The action often blasts the same notes in succession for lengthy periods, using, by coincidence, a rhythm identical to the low-key suspense rhythms performed by piano and metronome in Jerry Goldsmith's The Russia House. Timpani rhythms, low range piano crashes, and short blasts from trumpets highlight the action. Two rhythmic motifs of "curiosity" round out the score, one for the piano over broad bass string notes (heard, for instance, in the latter half of "The Chase"), and a hypnotic variant with strings and xylophone over light gong hits ("Chateau Saint Martin") specifically for sneaking situations. Most listeners will be drawn towards the operatic concert suite performance in the "Vocalise" cue that bookends the album, despite this theme never playing a role in the film itself. It makes for a fantastic addition to the album, and with one of the aforementioned themes or motifs constantly stated in its ranks, the album for The Ninth Gate is a fluid listening experience. Fans of religiously-inclined chanting over gloomy orchestral textures will delight in the final few cues, providing enough apocalyptic force to stir any neighbor out of bed in the middle of the night. The City of Prague Philharmonic recorded this score near the time it also performed Mark McKenzie's Durango, and a similarly strong sound quality can be heard in both recordings. If menacingly religious horror music with a dash of alluring operatic beauty is your delight, then The Ninth Gate is not a score to miss. ****
* Contains soprano vocals by Sumi Jo
The insert notes provide little extra information about the score, but do give the nine illustrations featured prominently in the book (with only three of them signed "LCF," though, so don't go looking to stir up trouble!) and explanations of each one. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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