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Filmtracks Editorial Review:
When it comes to character themes, Blanchard's music is completely devoid of any romantic or dangerous edge for the character of the seductress. The chase cues are not dangerous and the sex cues aren't exciting. Upon listening to the score on album, you would have no idea whatsoever that anything erotic is happening on screen. The lack of a melodramatic theme for the film was perhaps Blanchard's method of countering the soup-opera like development of the story. But without any stimulating theme beyond underdeveloped motifs with the exotic instrumentation hinders this score considerably. Blanchard could have sent the film over the edge to the doman of totally cheezy riots if he had gone the more romantic path in his music. The handling of Cuba of was timid and sluggish as well. Blanchard is, of course, an accomplished jazz artist, but he restrains the exotic moments of the score quite severely. The best sequences of the Original Sin score on album are most definitely those when Blanchard allows the Cuban influences of instrumentation take center stage. The droning of the piano (except for the wacky key shifts on the opening track) and monotone orchestra for the majority of the underscore isn't an annoyance, but it won't win many points with listeners either. The score, in its entirety, is ultimately just as dull and lifeless as the film. That is, until the finale sequence. Blanchard's trademarks are his trumpet performances, and those in the final track of Original Sin are both spirited and classy. For a film about a lip-smacking mail-order bride who absconds with the contents of her chivalrous suitor's bank account after a few seemingly blissful weeks of constant juvenile passion, you'd expect more spirited trumpet solos like Blanchard's from the final track in the rest of the effort. If those highly enjoyable trumpet performances had been better melded with the orchestra for the mass of the score, then the album could have functioned better with the film already best forgotten. The album marked the sudden and mysterious end of the Chapter III record label (formerly Compass III), which made itself a famous upstart with albums such as The Legend of Bagger Vance, Tomorrow Never Dies and the series of double feature classics from composers of yesteryear. The parent company of Chapter III, Gold Circle Entertainment, maintains a healthy monetary budget, and the executive producer behind the Chapter III albums will continue for the new Gold Circle Soundtrax label which is about to release its first song compilation soundtrack. So with the combined disappearance of the label and the failure of the film, don't be surprised if this Blanchard album eventually slips into total obscurity. Take note that the Gloria Estefan song at the end of the film, "You Can't Walk Away From Love," is not on this album. You can, however, 'walk away' from the rest of the music on this album with ease. **
Insert includes extensive credits, but no extra information about the score or film. Notable performers:
Paul Clarvis : Latin Percussion Adam Cruz : Latin Percussion Luis Jardim : Latin Percussion Edward Simon : Piano John Farricelli: Spanish Guitar | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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