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| • | Newest Major Reviews: | . | • | This Week's Most Popular Reviews: | • | Best-Selling Albums: | ||
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1. Moulin Rouge 2. Gladiator 3. POTC: Curse of the Black Pearl 4. Star Wars: A New Hope 5. Edward Scissorhands |
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1. Varèse Sarabande 25th 2. The Last of the Mohicans 3. Legends of the Fall 4. Schindler's List 5. LOTR: Return of the King (Set) |
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Filmtracks Editorial Review:
Onegin: (Magnus Fiennes) As the ultimate family affair, Ralph Fiennes stars in the title role of this film, while his sister Martha Fiennes directs, brother Magnus Fiennes composes the score, and sister Maya Fiennes performs the piano solos for that score. With broad cinematography of a Russian setting of the late 1800s, the film's music plays an integral part in providing the film's emotional impact. Because the director wanted to utilize correct music for the location as accurately as possible, a variety of period classical pieces by Russian composers is scattered among original scoring compositions by Magnus Fiennes. Some of the original Russian melodies have been arranged specially for performance in Onegin, while Fiennes' score offers just enough material in between to link the traditional themes together. With the score and traditional pieces weaving in and out throughout the album, the traditional classical elements quickly take charge. Fiennes' score was created with the intent of providing an aural atmosphere for the moods of the characters (rather than taking part in portraying the setting or specific actions). In these regards, the score flows seamlessly with little interruption. Unfortunately, it also lacks much character --the solo piano performances have little personality, and the orchestra never captures the intensity or complexity of typical emotionally atmospheric scores. When combined with the highly energetic classical pieces, the album quickly becomes disjointed when experienced from start to finish. Only in the final regular score track, "Rejected," do the players of the orchestra begin to build a satisfying mood. Thematically, the score and album are extremely subtle. Although not a negative characteristic in many cases, Onegin takes too long to get started and could very well bore the listener in its minimalistic string meanderings. Even the "Devil's Trill," a piece with which the director and composer were painstakingly true to the young age of the performer, becoming a shatteringly unsettling listening experience. By the specific orders of the director, Magnus Fiennes was likely focusing so hard on the atmospheric mixing of sounds in the film, as well as the placement of traditional piece placement, to worry much about a possible album... and the resulting album is indeed less interesting than it could have been. **
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