Filmtracks Recommends:
Buy it... if you admire Stephen Warbeck's loyalty to tonal, melodic constructs and seek an extension of that style into a more diversely rewarding and touching score. Avoid it... if the sappy style of irrepressible, happy music for docudramas about cute and cuddly animals is not in your interest, no matter how well executed. Filmtracks Editorial Review:
Two Brothers: (Stephen Warbeck) In the style of a documentary with a touch of drama and adventure, director and producer Jean-Jacques Annaud extended his approach from his similar film, The Bear, into an even more engaging, dialogue-filled tale for Two Brothers in 2004. Annaud, who seems to handle animal films with intense passion, utilizes two live tigers in the film, not being tempted to resort to Hollywood trickery and CGI effects for the animals, and merges their personal tale with a normal compliment of human actors. The story is as touching as something you might have seen National Geographic produce for the Discovery Channel or Hallmark productions (early rumors that National Geographic would produce or distribute Two Brothers itself were false; Universal give it a wide release), and you're always reminded of the popularity of Born Free in these feel-good animal and nature stories involving human intervention. Two tiger brothers are born in the Far East during the 1920's, separated by humans for several years and forced into unnatural positions as pets and circus performers before, inevitably, the two reunite when the humans force them to fight. Despite that frightening reunion, the PG-rated film is aimed at families, and rest assured that the two tigers recognize each other and all turns out well. Filmed on location in Cambodia and Thailand, the film definitely qualifies as eye candy, with only the rotten humans spoiling the idyllic conditions and vistas presented on screen. Annaud had solicited the scoring services of James Horner and John Williams in his previous two films but turned to active British television composer Stephen Warbeck for Two Brothers. Warbeck's orchestral credits for major films were highlighted at the time by Captain Corelli's Mandolin and Shakespeare in Love, the latter winning an Academy Award in 1998, and transcending the rather mundane and conservative symphonic style heard in those scores, Warbeck started flashing more of his diverse talents in 2003 and 2004. With his television score for Dreamkeeper and then Two Brothers, the composer's ethnic sensibilities and knowledge of exotic solo instrumentation added another dimension to his otherwise predictable Western style, branching out in such a way as to improve his reputation for those had not been convinced of his capabilities during his rapid ascent to mainstream recognition in the late 1990's. The best accomplishment in Warbeck's impressive score for Two Brothers is the composer's effective balance between the lyricism of the Western orchestral elements and the tone of the East Asian location in an era past. The Chinese and other Southeast Asian instrumentation produce a realistic backdrop for the historical truths in the parts of the tale that closely follow a documentary format. On the other hand, Warbeck doesn't hesitate to offer his flourishing orchestra in large melodic sweeps when the sensibilities of a scene call for such emotion. The animalistic aspects of the story (both on the part of the tigers and humans) is handled with raw, violent action sequences for the entire orchestral ensemble, augmented by familiar drums that accompanied the stories in Dreamkeeper and the same ferocious attitude of the brass. Both "Chasing the Truck" and "The Hunt" offer heart-pounding ensemble rhythms punctuated by terrifying trombone figures, yielding eventually to another side of Warbeck's score for Two Brothers: the circus. The carnival aspect, set to a bizarre accordion and tuba combination in a sickeningly off-kilter rhythm, is perhaps the hardest element to appreciate outside of the context of the film, though it seems effective in its task. The score shines brightest when the two tigers are together, both at the beginning and at the end, allowing Warbeck extensive development of the dominant family theme that anchors his entire work. The two highlight cues of the score are "Recognition," in which the family theme for the tigers is finally performed with the loving strings and heartbreaking harmony it truly requires, and "To Freedom," when the enduring child-like spirit of the tigers explodes with glee though Warbeck's use of a hip (or hokey, depending on how you approach it) whistler for a catchy rendition of the same theme. Other cues of comedy, such as "Havoc," are performed largely by the Asian instruments alone, adding a flavor of authenticity to the score that was sometimes lacking in Warbeck's earlier, better known film scores. If you are a detractor of Shakespeare in Love, then be forewarned that the lush, alternating strings figures that you heard throughout that score will greet you right off the bat in Two Brothers, but at least the composer explores far more varied territory thereafter. The lack of a Born Free-style song is perhaps a bit surprising until you contemplate the director's history. Overall, this is yet another impressively rewarding and touching score from Warbeck, proving him to be a much more multi-dimensional composer than many may have thought he was. **** Track Listings:
Total Time: 59:39
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