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Co-Orchestrated by:
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Brad Decter
Jeff Atmajian
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Co-Produced by:
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Jim Weidman
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Release Date:
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December 7th, 1999
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Availability:
Regular U.S. release.
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Filmtracks Recommends:
Buy it... if you appreciate the finer and less obvious atmospheric
aspects of James Newton Howard's weighty dramatic style.
Avoid it... if the understatement of the score's cello and
shakuhachi solos, along with the restraint of the ethnic percussion,
synthetic bass, and chorus, leave you wanting more readily accessible
performances by those elements.
Filmtracks Editorial Review:
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Snow Falling on Cedars: (James Newton Howard) A
loyal and critically acclaimed adaptation of David Guterson's
best-selling novel to the big screen, Scott Hicks' Snow Falling on
Cedars tells of a forbidden love story against the backdrop of a
courtroom drama and the Japanese internment camps of World War II. The
story addresses several lines of investigation, including the injustice
of the internments, a specific murder mystery, culture clashes, and the
conscience of a reporter inextricably involved in all of those elements.
The story essentially boils down to a "right and wrong choice" for the
reporter, forced to choose whether or not to reveal evidence that would
exonerate the husband of a woman he once lost. One of the best qualities
of the film, and the reason for its success, is its ability to shift
through time seamlessly, with countless flashbacks shifting in ways that
don't hinder the flow of the story. Also of note in Snow Falling on
Cedars is the stark beauty of its photography, with a visually
stunning style complimenting James Newton Howard's intelligently
delicate score to tantalize the senses. Howard, who had progressed
through several darker, arguably less popular scores at the time of
Snow Falling on Cedars, was thought to have a legitimate chance
at an Oscar nomination with this score. That nomination never
materialized, and while most of that fact is likely due to the film's
less than anticipated awards showing on the whole, the score simply
didn't contain a flashy enough personality, even in a weighty dramatic
sense, to woo voters. While retaining parts of the gothic styles heard
in a few of his other works at the time, Howard provides a heavily
ethnic and sorrowful tone for this introspective score. Relaxing by
nature and consistent in its deep sensitivity, the lengthy album for
Snow Falling on Cedars was one of the better atmospheric
endeavors of 1999, and a highlight of Howard's works of the late 90's.
Collectors of the composer will immediately recognize the highlight cue,
"Tarawa," and will cherish it on any collection of the composer's works.
Those collectors would also hear several techniques that Howard would
later explore in his scores for M. Night Shyamalan films of the
2000's.
The ensemble in Snow Falling on Cedars is led by
strings, though the true appeal of the score comes from the employment
of solo cello, numerous electronic accompaniments, boy soprano solos, a
shakuhachi flute, and, most impressively, the Los Angeles Master
Chorale. Although these elements may seem typical, Howard weaves them
into a highly ethnic and romantic product, with the romance stemming
from the intimate nature of the music rather than any particular
overwhelming theme. The themes that tie the score for Snow Falling on
Cedars together are very subtle in statement, yet heavy on the
heart. With a variety of bass heavy strings and synthesizers, the
orchestra's performances of these statements are solemn and haunted.
While the solo cello performs a meandering theme in the film's opening
moments (and sparingly thereafter), a simple 4-note rhythmic motif
captures your attention throughout the score. Always performed with the
assistance of the chorus, this theme debuts in "Carl's Fishing Net" and
graces "Hatsue and Ishmael Kiss" (pure beauty at work), "Typeset," the
resounding "Tarawa," and the central portion of the "End Titles." In
some ways, the allure of this remarkably simple motif mirrors the that
of the equally basic progressions of Lady in the Water many years
later, and a faintly rising and falling motif for violin will foreshadow
the famous parts of Howard's The Village. The shakuhachi flute is
utilized in a much more fluid manner than James Horner's typically
blasting use. Several crescendos of melodramatic, quivering strings
litter the score, usually followed abruptly with the soft beat of an
ethnic drum. While there are some outbursts of impressive volume and
intensity in the score, the subdued harmony and a stark sense of reality
define Snow Falling on Cedars. The only true standout cue is
"Tarawa," with the battle sequence offering a harrowing and powerful
performance of the 4-note choral motif with the same almost religiously
engaging resolve as the peaks in Devil's Advocate. Overall, the
score is an outstanding atmospheric listening experience, seamless and
uninterrupted by a weak cue. The captivating subtleties inserted by
James Newton Howard, from the cello solos to the soft electronic
tinkling, will leave you impressed by the score's dark strength and
relaxed by its soothing demeanor all at once. ****
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Viewer Ratings and Comments:
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• 1. Lost in the Fog (2:59)
• 2. Carl's Fishing Net (2:52)
• 3. Moran Finds the Boat (1:12)
• 4. Hatsue and Ishmael Kiss (1:42)
• 5. Kendo (0:51)
• 6. Driftwood Hideaway (1:49)
• 7. The Strawberry Field (3:54)
• 8. The Worst Kind of News (1:07)
• 9. Seven Acres (1:53)
• 10. The German Soldier (3:13)
• 11. Snowstorm (1:53)
• 12. Coast Guard Report (3:13)
• 13. Typeset (1:39)
• 14. The Evacuation (6:34)
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• 15. Courtroom Montage (1:34)
• 16. Susan Marie Remembers (1:36)
• 17. The Defense (1:46)
• 18. Snow Drive (1:29)
• 19. Typing (1:41)
• 20. Tarawa (4:09)
• 21. The Battery (0:46)
• 22. Carl and Kazuo Negotiate (1:44)
• 23. Humanity Goes on Trial (4:47)
• 24. New Evidence (1:23)
• 25. Snow Angels (2:30)
• 26. Can I Hold You Now? (4:47)
• 27. End Titles (6:14)
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Insert includes no extra information about the score or film.
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