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Filmtracks Recommends:
Buy it... if you enjoy the very similar flighty lightheartedness of Patrick Doyle's early 1990's scores for Shakespeare adaptations. Avoid it... if the Bard gives you hives, or if for some reason you're allergic to Shaun Davey's Irish tilt on parts of the score. Filmtracks Editorial Review:
Davey's writing for Twelfth Night would follow the film's lead in being reluctant to cut production corners. Performances by the Irish National Film Orchestra are appropriately vibrant and exuberant, taking grand melodic stances and doing their best to propel the pace of the film with constant rhythmic movement. It's unclear whether or not Nunn intended Davey to mirror Patrick Doyle's popular writing for the genre, but what Davey has done here is present essentially an extension of Doyle's trademark sound from Much Ado About Nothing, with a touch off Doyle's somewhat appropriate Shipwrecked score into the mix. Woodwinds flutter like flowers in springtime while violins chop effortlessly in high ranges and bouncing rhythms carry both along a pleasant, sunny journey from one crescendo to another. These crescendos accompany (or, more accurately, follow) the grandest lines of each portion of the play, though this interpretation of Twelfth Night does show more action that is simply implied in the original story. Scenes such as the shipwreck at the opening of the film necessitate a more forceful motif, and for this, Davey pulls out a rolling rhythm of menacing stature. Sharing many characteristics with his domineering rhythms in The Tailor of Panama, these forceful cues (including "Antonio's Chase") are equally rich with cymbal-crashing percussion and deep woodwind performances. Low range piano is also similar here, though Davey allows the instrument some romantic solos under dense dialogue. Like any good Doyle score for the genre, Davey hauls off with a triumphant, full-ensemble announcement of his fluffy title theme in the "Twins' Reunion" cue. Some additional spark is added to the film with ensemble songs, including some low key performances by Ben Kingsley himself, until the sexy beast (or Gandhi, however you prefer him) launches into a strangely enjoyable and energetic song ("The Wind and the Rain") with Davey's percussive, Irish tilt on his original score serving as an end title piece. Even in this final piece, Davey maintains a strong identity in his score, a trait that has proven to be among his strongest in his career. Twelfth Night is thus an easy listening experience loyal to the flighty nature of Shakespeare's story. ****
* performed by Ben Kingsley ** performed by Rita Connolly, Valerie Armstrong, Peter Beamish *** performed by Ben Kingsley and Imelda Staunton
The insert includes notes about Shaun Davey's career and a synopsis of the story. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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