Filmtracks Recommends:
Buy it... if you appreciate Thomas Newman's creative instrumental and rhythmic devises of the early 2000's but your heart sways to his early 1990's symphonic sensibilities, a balance perfectly achieved in Scent of a Woman. Avoid it... if you don't ever want to hear Newman step over the line into the realm of shameless symphonic romanticism of a mainstream variety, a sound that gets the best of this score in its final moments. Filmtracks Editorial Review:
Scent of a Woman: (Thomas Newman) A widely praised film from 1992, Scent of a Woman conveys a familiar storyline but is floated by one singular acting performance. It once again puts a young man into the position of learning from an older one, only for both to have an equal impact upon each other. The older man in this case is a blind military officer in contemporary times, played brilliantly and with highly memorable charisma by Al Pacino in a career highlight performance, and he has been assigned a reluctant assistant to accompany him on a holiday to New York. The dangers, triumphs, and lessons of life they experience in their small adventures are glazed over with perhaps too much Hollywood sugar at the end, but the picture still works. Music plays an important role in Scent of a Woman, both in terms of Thomas Newman's somewhat traditional, conservative score and the employment of source material in a high profile and much beloved tango scene involving Pacino. The primary reason this soundtrack receives so much attention is indeed this tango piece, though that should not diminish from the quality of Newman's contribution. The composer was in the midst of a period in his career that was about to culminate in substantial awards recognition for his large, orchestrally dynamic scores. For listeners intrigued by Newman's excursions in more unique instrumental and rhythmic territory but still preferring the heartfelt symphonic melodies of his early years, Scent of a Woman is a good crossover score. It features material that is about as close to mainstream orchestral romance as Newman has ever been, though it still explores the more playful side of his sensibilities by incorporating the spirit of some of his later works into upbeat scenes. It is therefore a score that will appeal to every segment of Newman's collectors, including those who appreciate the redemptive aspect of the composer's music for animation in the 2000's. It's a well-rounded work that is a pleasure to hear in its most extroverted sequences. Mainstream audiences may get hung up on the tango piece, "Por Una Cabeza," but it is Newman's score that deserves recognition for the emotional impact of the film, even if the two are complicit in the unnecessary bloating of the film's environment in the closing scenes. On the downside, Newman's score does offer several very low key, minimally rendered meanderings for scenes of quiet conversation or contemplation that do slow down the listening experience on the journey to that end Two primary themes define Newman's work for Scent of a Woman. The first is the orchestral representation of both character and drama, heard on solo oboe immediately in "Main Title" and extending on the instrument to "45 in 25" and others. This idea slowly builds in symphonic force as the friendship between the film's two primary characters is strengthened, eventually exploding with an over-the-top performance at the outset of "Fleurs de Rocaille." The progressions of this theme almost suggest Western visuals of open expanses, merging the style of Basil Poledouris and Jerry Goldsmith and only returning to Newman's own distinctive sound in its redemptive, secondary phrase. For some, this theme will seem out of place in Scent of a Woman, though when boiled down to the solo oboe, it's easier to digest in context. A snare-led theme of individual construct occupies "End Title," foreshadowing with clarity the direction that Newman would take The Horse Whisperer. Perhaps the English horn and snare duet was meant to accentuate the military connections, but it also stands outside the sound you would expect for this score. Tying all of these elements together is Newman's usual tendency to insert plucked sounds into his soundscapes, whether from the strings in the standard orchestral passages or on more creative instruments in the playful half of Scent of a Woman. Indeed, it is the infectious spirit of the theme for the young man and his school that connect this work to Newman's later endeavors, and here the ensemble contains all of the composer's comfortable plucked sounds familiar to that style. Starting with marimbas and vibes, this secondary theme is, in much the same form as Fried Green Tomatoes, where the true personality of the score exists. From the second half of "Main Title" to the wild fun of "Tract House Ginch" and the toned-back "Balloons" and "Assembly," this half of the score affords Newman the opportunity to flash some of his extremely distinctive rhythmic flair. The incorporation of the full orchestral ensemble into these portions will make them far more palatable for those not impressed by scores like American Beauty and Erin Brockovich. The 37-minute album could be whittled down to about fifteen minutes of outstanding material representing some of the best music of Newman's career. The product has always performed well because of MCA's wise decision to include the pivotal tango piece (and a second one for good measure) on the product. Don't hesitate to explore this score if looking for a place to start a Tom Newman collection or expand one in its infancy. **** Track Listings:
Total Time: 37:16
* written by Carlos Gardel, performed by The Tango Project ** written by Jose Padilla, performed by The Tango Project All artwork and sound clips from Scent of a Woman are Copyright © 1993, MCA Records. 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 9/12/09, updated 9/12/09. Review Version 4.1 - PHP (Filmtracks Publications). Copyright © 2009-2013, Christian Clemmensen. All rights reserved. |
