With the numerous pseudo-ethnic scores in the past, the work of Tan Dun (Crouching Tiger, Hidden Dragon) has provided a much-needed respite from contrived, multi-thematic, americanized film scorings. From a more biased perspective, it's beyond refreshing to finally experience a memorable, cultural composition that is wholly integrated into the film itself and *still* succeeds as a standalone album. Furthermore, the fact that it is completely ethnic in melody is precisely what makes it so alluring and beautiful; the audience is finally given a chance to imbue in the music what is being shown onscreen without any unforeseen themes to distract their focus.
Whatever "challenge" the score may present to "Western ears" is wholly based on the individual and not any dichotomized populace. The incessant need for themes is sometimes sickening-and in some cases even puerile, because the audience does not need these irritatingly prominent leitmotifs to spell out for them what is occurring onscreen. Thus, having experienced an abundance of these distracting themes in the past, the ubiquitous melody utilized throughout Crouching Tiger, Hidden Dragon (CTHD) was both ideal and befitting.
Tan Dun's urbane style of scoring succeeded in sustaining the most ardent events and subtly bolstering the already awe-inspiring scenes. Because this implementation of ethnic instruments was done neither excessively nor in a scant manner, it is understandable how some could misconstrue this as some strange "...balance between minimalism and ethnic romance". Consequently, it is understandable when ostensibly jaded "connoisseurs" of film scores have a difficult time evaluating/comprehending an unfamiliar method of scoring films.
Nonetheless, the film is cleverly scored in that each track essentially encapsulates the various passions and tensions with or without the visual representation. The music has this paradoxical nature in that it shifts elegantly between the ethereal and substantial; therefore by possessing an insular knowledge of ambient scoring, a provincial listener is more than likely to be instilled with the sensation of the score being "...tight with tension throughout". It is without the use of overly visceral and ostentatious passages that Tan Dun masterfully brings the listener to great heights--with the music alone, and vastly improves upon various, anemic transitions throughout the film.
Although some passages are overtly "repetitious", these "lyrical impressions" are done so in a refined manner first of all, to keep pure the overall ethnic, aural milieu and secondly, to provide zero dissonance when harmonizing with the film itself; they--along with Yo-Yo Ma's cello solos, skillfully convey the urgency, light-heartedness, romance, or brooding nature of the onscreen events. Since the score has no need to indulge in exceedingly flashy compositions, it holds its own via the exceptional cello solos and considerable melodies infused with such sentiment. As a result, it would seem that the film relies heavily on "...intimate treatment of traditional Eastern music" instead of (more or less) trite, grandstanding themes...
Even though Coco Lee's pop song, "A Love Before Time", was duly composed (and included) for the sake of increasing sales, it was perhaps the only blatant weakness in the entire album. Seeing as how Mandarin was utilized throughout entire film with English subtitles, the placement of the song's English version undermined the subsequent version sung in the native language. The intrinsic beauty of the film is derived from the fact that it is indeed foreign… so, when there is a dire lack in a meaningful translation from the original language-in this case from Mandarin to English, a butchered, contemptible interpretation should never be included in the interest of publicity.
All things considered, the Academy Award won by CTHD's score was testament of its cross-cultural appeal and NOT simply because the film itself was well received in the US. With that said, I would gladly recommend this album to anyone and everyone!
(5/5/01)
