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Eight Millimeter
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Composed and Produced by:
Conducted and Orchestrated by:
Nicholas Dodd
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LABEL & RELEASE DATE
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Compass III Records
(February 23rd, 1999)
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ALBUM AVAILABILITY
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Regular U.S. release, but completely out of print.
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AWARDS
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None.
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ALSO SEE
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Buy it... if you're clamoring for some outrageously obnoxious
Moroccan rhythms, vocals, and instrumentation to go along with your
curiosity about snuff films.
Avoid it... if the above statement makes no sense to you, either.
BUY IT
 | Danna |
8mm: Eight Millimeter: (Mychael Danna) Not much
praise can be given director Joel Schumacher's Eight Millimeter,
a truly wretched and unnecessary film about Los Angeles' illegal
underground snuff industry. Nicolas Cage weaves his way through a
fragmented and nearly unintelligible screenplay as he investigates an
8mm movie found by a wealthy widow. In the film from her husband's
collection, a young girl is sexually assaulted and killed on screen, and
the widow wants to know if the death was real. As Cage would delve into
the seedy underworld of sadistic perversion, the film managed to
alienate or offend every reviewer around the world, not to mention
horrified audiences. Composer Mychael Danna, whose career has since
proven him quite accomplished, used Eight Millimeter to break
away from the Atom Egoyan and Ang Lee collaborations to debut in
mainstream Hollywood. It would be fascinating to know what truly went
through his mind when he first saw a cut of the film, however, for the
score he produced is so incongruous with the subject matter. Schumacher
explains the unusual score as one that "transcends" normal movie music,
something you'd hear him say about Elliot Goldenthal with better
credibility. But that simply doesn't explain how bizarre the Eight
Millimeter score truly is. Functioning primarily as an atmospheric
element, Danna's music for the thriller is actually quite effective. He
succeeds in creating a sound that is naturally unsettling, utilizing
unfamiliar instrumentation and vocals to accentuate a mysterious and
terrifying journey to the darkest realm of society. In these regards,
this score isn't remarkably different from Danna's surrealistic music
for Exotica a few years earlier. But in the context of Eight
Millimeter, this approach begs several questions. This is one of the
few scores that has ever, for instance, raised questions about whether
the composer's approach was distinctly racist.
Anyone familiar with Danna's career knows that he has
travelled the world learning about the music and instruments of many
cultures. As a result, he is quite adept at the interpolation of African
and East Indian instruments into the setting of a Western Orchestra. In
Eight Millimeter, the world of the underground snuff producers is
scored with boisterous and occasionally overwhelming sequences of a
native Arabic and North African instrumentation. Not only will the
strange atmosphere be tough on the ears of many conservative score
collectors, but it doesn't make sense in the context of the film. By
associating the white criminals in the film (and their industry) with an
extremely heavy Moroccan influence, Danna risks drawing the conclusion
that Moroccans are savage barbarians who would kill a person in sex
film. So awkward is the Moroccan music in the film that it just begs
such questions. Beginning in "Missing Persons" and reaching erotic,
super cool bass rhythms in "Loft" (an almost Hans Zimmer style of
overbearing simplicity), these sequences can't be explained away as
easily as the East Indian music for a Toronto night club in
Exotica, which could at least have some indirect connections to
the Kuma Sutra. The "Hollywood" cue alone stands out in the film as
completely inappropriate. The music itself is actually a fascinating
study, albeit unlistenable in parts, and it's easy to get the impression
that most film score collectors would simply use this score to irritate
co-workers, roommates, or elderly neighbors. To his credit, Danna
continuously strains the Moroccan rhythms as Cage, who plays a family
man, travels deeper into the land of these sexual atrocities. The
shrieking dissonance of "Rainstorm" is the culmination of these efforts,
merging the orchestra with the native vocals and percussion in a
completely intolerable crescendo of noise. As the film states, there are
things that one cannot "unsee." Unfortunately there music that can't be
unheard, either.
If you can, for some reason, throw aside the
questionable and highly draining Moroccan sequences of Eight
Millimeter, there are portions of Danna's score that offer a sliver
of hope. The score opens and closes with style, providing a
conservatively appealing theme performed, as usual for Danna, on piano.
The opening five and final two cues feature subdued, but attractive
underscore along the same morbid lines as Ice Storm, but with a
more varied orchestral approach. Danna uses various electronic acoustics
to ominously foreshadow the coming investigation, including an
interesting effect at the very start that simulates the turning of a
film reel that is whipping around after reaching its end. The level of
restraint in these cues very effectively mirrors the level to which
Cage's character is in control of himself in the story. The sympathetic
portions of the score, including the quick theme for "Cindy" (during the
fifth track on album) and the partial relief of the final two tracks,
are the true gems of this score. Danna's piano solos, sometimes
accompanied by flutes, are more readily accessible than many of his
other themes. Therein lies yet another incongruous element of this
score; these appealing cues occupy only a fraction of the score.
Overall, you still cannot doubt Danna's talent for creating an alternate
and foreign sound for a disturbingly creepy environment. The harsh and
loud Moroccan music that dominates Eight Millimeter, though, is
almost so overblown that it comes across as "tongue in cheek," something
that Danna likely did not have in mind. He manages to effectively convey
the dark and sinister side of the film, however, making the album a
possible item for search; be aware that while Silva Screen released the
album in Europe, the Compass III label distributed it in America, and
with the demise of that label not long after, Eight Millimeter
will be difficult to find. It's more of a novelty item than a listenable
product.
** @Amazon.com: CD or
Download
Bias Check: |
For Mychael Danna reviews at Filmtracks, the average editorial rating is 3.25
(in 16 reviews) and the average viewer rating is 3.06
(in 5,347 votes). The maximum rating is 5 stars.
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Total Time: 50:08
1. The Projector (1:20)
2. The House (2:05)
3. The Call (1:44)
4. The Film (1:10)
5. Cindy (0:56)
6. Missing Persons (4:47)
7. What Would You Choose (3:12)
8. Hollywood (2:52)
9. Unsee (1:21)
10. Dance With the Devil (5:36)
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11. The Third Man (1:15)
12. Loft (1:57)
13. No Answer (1:48)
14. I Know All About... (1:41)
15. 366 Hoyt Ave. (1:46)
16. Scene of the Crime (5:53)
17. Machine (3:31)
18. Rainstorm (3:50)
19. Home (1:32)
20. Dear Mr. Wells (1:53)
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The insert includes the following note from director Joel Schumacher: "Mychael Danna's
score, haunting, voluptuous, darkly seductive, transcends music for film. Mychael is truly unique
and a major talent."
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