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Performed by:
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The English Chamber Orchestra
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Orchestrated by:
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Nic Raine
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Additional Music by:
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Peter Buffett
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Release Date:
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October 31st, 1995
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Availability:
Regular U.S. release.
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Filmtracks Editorial Review:
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The Scarlet Letter: (John Barry) If modern cinematic
disasters are to be ranked on a list, this sorry entry would fit somewhere
in the middle ranges of that dubious distinction. Accomplished director
Roland Joffé decided, for some reason, to film a loose adaptation of
Nathaniel Hawthorne's classic novel about 17th Century northeast America,
complete with witchcraft, adultery, and the harsh realities of immigrant
(and womens') life at the time. Critics pounded this film like a drum, with
Demi Moore receiving much of the brutal criticism many weeks before the film
was even released. Those few people who actually subjected themselves to the
film would find two partially redeeming elements: the cinematography and the
score. The story of the music for The Scarlet Letter is just as
disastrous as the film's overall production. Film scoring veteran Elmer
Bernstein was hired to write and record a score, both of which he did. But,
as was happening to Bernstein more and more often at the time, his music was
rejected (and it has since become a hot, elusive collector's item for his
fans to seek). Then, to everyone's surprise, romance maestro Ennio Morricone
was signed on to the project. But to the horror of the filmmakers, when
Morricone turned in a demo tape of music he could provide for the film, it
was a collection of Mediterranean-flavored themes from his previous scores.
After Morricone's summary dismissal, the filmmakers desperately sought John
Barry's services, since Barry had been a reliable historical romance writer
and had been nominated for Academy Awards with Dances With Wolves and
Chaplin in the few years prior. Barry, who was beginning to slow down
his production as he neared a retirement pace of output, accepted and
produced what would arguably be his last great score. With hints of
Dances With Wolves and Raise the Titanic, Barry's The
Scarlet Letter would be one final original romance piece before his
career became hopelessly repetitive. Depending on your opinion of Barry's
derivative styles, the 'A' in this case can either stand for "arduous" or
"awe-inspiring."
For listeners of John Barry, you'll note immediately that
The Scarlet Letter is a very typical John Barry score. But with his
works of the 1990's, you have to judge the effectiveness and listenability
of that sound on just how much it derives from his previous scores. The
broad scope of his strings, with accompanying brass and simple, harmonic
counterpoint, is everywhere in The Scarlet Letter. It is a pleasant
score from beginning to end, with romance as tonal and thematic as it gets.
The love theme, provided brilliantly in "Love Scene," aches with dramatic
lust and often (though probably unintentionally) repeats a few sensitive
bars of "Don't Cry for Me Argentina" from Evita. The saturation of
tragic romance in this theme is difficult to resist, even for those who
consider themselves immune to Barry's trademark thematic development.
Whereas his concurrent score for Cry the Beloved Country (along with
other later ones) became stuck on one monotonous idea, The Scarlet
Letter exhibits the development of several thematic ideas and impressive
motifs. As with Dances With Wolves, the percussion section gets a
notable workout, with pounding bass drums and ripping snares accentuating
battle scenes and frightening moments of humiliation. As the score
progresses, a more menacing chopping of strings and rumbling of timpani
offers a brutal side of Barry not often heard. Both "Round-Up" and "The
Indians Attack" place Barry's themes in tragic, deliberate brass over
tearing percussive outbursts; this is tougher, meaner music than you heard
in even the darker James Bond moments of action. Assisting these huge action
cues is an extremely 'wet' sound mix; this technique caused Cry the
Beloved Country to become awash. But in The Scarlet Letter, the
percussion section especially benefits from this treatment. The echoing
power of the score adds to the mythic proportions of its emotions, and makes
for an outstanding listen on large sound systems. Additional Indian chanting
music by Peter Buffett (reprising their collaboration on Dances With
Wolves) and a strong performance of Samuel Barber's 'Agnus Dei' from
"Adagio for Strings" round out a very strong album. ****
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Viewer Ratings and Comments:
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• 1. Main Title*/The Arrival/Search for Home (6:15)
• 2. Hester Rides to Town (1:05)
• 3. The Bird/The Swimmer* (3:07)
• 4. A Very Exhilirating Read (2:10)
• 5. I'm Not the Man I Seem (2:40)
• 6. Agnus Dei (Adagio for Strings) (10:51) - Samuel Barber
• 7. I Can See What Others Cannot (1:04)
• 8. Love Scene (6:44)
• 9. Are You With Child (2:06)
• 10. A Small Act of Contrition (2:24)
• 11. The Birth (2:05)
• 12. I Baptize This Child/Pearl (2:01)
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• 13. She Will Not Speak (3:24)
• 14. Dr. Roger Prynne (1:40)
• 15. Hester Walks Through Town (1:50)
• 16. Poor Fatherless Child (2:08)
• 17. An Attempt at Rape (3:00)
• 18. The Savages Have Killed Him (1:50)
• 19. The Round-Up (1:54)
• 20. I Am the Father of Her Child (2:16)
• 21. The Indians Attack (2:47)
• 22. The Letter Has Served a Purpose (2:36)
• 23. End Title (4:13)
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* composed by Peter Buffett
Insert includes no extra information about the score or film.
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