Filmtracks: The Return of a Man Called Horse (Laurence Rosenthal)

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The Return of a Man Called Horse

Composed, Conducted, and Produced by:

Laurence Rosenthal

Label:

Varèse Sarabande

Release Date:

April, 2003

Also See:

Dances With Wolves

Audio Clips:

1. Main Title (0:31), 155K return_man_horse1.ra

5. Gifts for the Yellow Hands (0:30), 150K return_man_horse5.ra

13. Training for War (0:28), 140K return_man_horse13.ra

15. Battle at the Fort (0:32), 160K return_man_horse15.ra

Availability:

The 2003 Varèse Sarabande Album is a "Limited Collector's Edition" of 3,000 copies and is available only through the label's site or through online soundtrack specialty outlets. Catalog number: VCL 0403 1020

Awards:

None.

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Filmtracks Recommends:

Buy it... if you finally want to replace your LP of this score or if you want to enjoy one of the finest works of Rosenthal's career.

Avoid it... if the price tag of the Deluxe album is too high to experiement with the music of a composer you are completely unfamiliar with.

Filmtracks Editorial Review:


Rosenthal

The Return of a Man Called Horse: (Laurence Rosenthal) After the success of A Man Called Horse in 1970, star Richard Harris collaborated with director Irvin Kershner to bring the title character back to the big screen in 1976. Despite positive audience response to the original 1970 film, it did several cinematic injustices to the representation of Native American lifestyles, and the new production team wished to correct those errors. The sequel, The Return of a Man Called Horse, was, through the involvement of Kershner and his associates, a significantly more sensitive and realistic portrayal of Native American culture on the big screen. The film contained several slowly developed visual elements that that gave it a documentary quality, including several expansive vista scenes without much more than Laurence Rosenthal's music to compliment their beauty. From the 1960's through the 1980's, Laurence Rosenthal was known as a composer of great consistency, a gentleman with classical inclinations, but also a talent for bringing sophistication to a score of any genre. Some of his works have aged better than others, but most critics and collectors will agree that the mid-1970's to early 1980's represented the most lasting period in Rosenthal's career. After The Return of a Man Called Horse, which even Rosenthal agrees to being one of his finest compositions, both Meteor and Clash of the Titans (despite the shortcomings of their films) would continue to interest film score enthusiasts. For The Return of a Man Called Horse specifically, Rosenthal would have the opportunity to infuse a classical, European sound (from the perspective of the title character) into an ethnically rich canvas inspired by the Sioux tribes. Add Kershner's long scenes without dialogue to the equation, and Rosenthal's music was perfectly position to make an impact.

The success of Rosenthal's score comes from his ability to combine the two genres of music into one enthusiastic package. The film displays a rare acceptance of an Englishman (Harris) into the Yellow Hands tribe, and the collaboration they experience is one of trials and ultimate success. Thus, Rosenthal's score mirrors the enthusiasm of the title character during his journey to become a respected leader in the tribe. The score plays an enormous role in ensuring the film's upbeat vision of collaboration, while also offering enough seriously inclined cues to service moments of despair felt by the tribe. It is a Western score, but not with the same bouncing rhythms as Jerry Goldsmith or atonal dissonance as Alex North. Rosenthal's style is all his own, though the complexity of his overlapping orchestral activity may remind listeners of John Williams during the more robust sequences. With a sound all his own, Rosenthal offers exciting action cues (for scenes such as the buffalo hunt) and authentic, spiritual music in alternating cues. It's difficult to imagine how Rosenthal could so successfully integrate the classicism with the tribe's native chants, but the resulting congruence is more true to a documentary fashion than anything John Barry wrote for similar situations in Dances With Wolves. Rosenthal's harmonically grand title theme --one which eluded the composer for a lengthy time-- elegantly portrays Harris' character and the nobility of his heritage and intentions. If one were to have a complaint with the title theme as heard in the suite at the start of the album, it would revolve around an equally enthusiastic percussionist and his triangle (no, that's not a phone ringing in your house). The score existed on LP records, but due to time restrictions on that format, a handful of noteworthy cues were omitted. The limited Varèse Sarabande Club album is a "Deluxe Edition," entailing over twenty minutes of newly released material. Other than the "Battle at the Fort" cue, however, the LP really did contain all the best material. But don't let that stop you from investing in this crisp CD release of (arguably) Rosenthal's finest score. ****

Purchasing Options: eBay/Half.com (Used)

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Track Listings:

Total Time: 59:37

• 1. Main Title: The Return of a Man Called Horse (4:54)
• 2. The Massacre (2:21)
• 3. Morgan Haunted by his Memories (2:37)
• 4. The Yellow Hands in Despair (3:14)
• 5. Gifts for the Yellow Hands (3:03)
• 6. The Hilltop* (1:39)
• 7. Preparation for the Ordeal* (4:31)
• 8. The Sun Vow: The Sweat Lodge - Morgan's Vision - The Sun Dance (6:26)
• 9. Raven's Sacrifice* (1:35)
• 10. The Benediction* (1:42)
• 11. The Buffalo Hunt (4:45)
• 12. Buffalo Spirit Gone* (2:44)
• 13. Training for War (3:01)
• 14. Portents* (2:46)
• 15. Battle at the Fort* (6:35)
• 16. The Young Chief - The New Life (7:08)

* not available on the LP record

Notes and Quotes:

The limited edition Varèse Sarabande album has its usual standard of excellent, in-depth analysis of the score and film. New comments from Rosenthal himself are included.

All artwork and sound clips from The Return of a Man Called Horse 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 6/10/03, updated 6/11/03. Review Version 4.2 - PHP (Filmtracks Publications). Copyright © 2003-2008, Christian Clemmensen. All rights reserved.