: (Philippe Rombi) From a novel by author
Elizabeth Taylor comes the inspiration for
, the second
English-language film by French director Francois Ozon. In many ways a
throwback to the grand romances of Hollywood's Golden Age,
also features a wider range of sensibilities that would seem to attract
attention from modern arthouse crowds. The story follows the life of
young author Angel Deverell, whose force of will leads the audience on a
journey from the imaginative aspirations of her youth all the way
through her eventual death. A fierce personality for Angel and the
story's willingness to toss in a tart now and then provide the film with
spicy interest.
marks the fifth collaboration (since 2003)
between Ozon and young French composer Philippe Rombi, who has shown the
talent and promise of an international career that is yet unrealized.
Without a doubt,
is the biggest spectacle to come out of
Rombi's career as of yet, contributing to a belief that he very well
could be an extension of (or replacement for) the late master of French
romanticism, Georges Delerue. In many ways,
will be an
absolute delight for fans of Delerue, mostly due to Rombi's unashamed,
lyrical devotion to his three themes for the film. The same sweeping,
dramatic spirit that Delerue drew from the Golden Age of film scoring
and infused into 1970's and 80's dramas and comedies is clearly evident
in Rombi's music for
, and so refreshing is a return to this
sound that the score is among the best of 2007. Rombi's surprisingly
loyal interpolation of the sounds of Max Steiner, Frank Skinner, and
other industry standards of the 1940's and 50's was a clear direction
given by Ozon, who specifically used Skinner's music as a temp track
during the production of the film. Rombi proves his credentials in
understanding the technicalities of structure and instrumentation from
the era, very well reproducing the sound while also sharpening the edges
to suit both the melancholy aspects of the story as well as the
expectations of modern listeners.
The London ensemble that Rombi employs for
Angel is
somewhat standard in its orchestration, relying on traditional elements
to provide solo emphasis. The most creative part of the equation is the
contracting of the Crouch End Festival Chorus (known to film music
collectors primarily for its role on Silva Screen compilations of
re-recordings). The quality of the Abbey Road recording of the orchestra
is outstanding, allowing the string, woodwind, and piano solos to shine
appropriately, while the chorus is interestingly (and likely
intentionally) mixed at somewhat of a distance, almost to suggest that
its combined performance is just one additional and equal instrument in
the larger mix. All of these elements forge a highly thematic score that
contains not a single moment of encroaching dissonance. Rombi's three
themes for
Angel are each quite attractive, but the beauty in his
composition is his expert skill at varying the tone and tempo of each
theme in creative ways for various scenarios in the film. The title
theme experiences the most strikingly dramatic shifts in tone throughout
the score, representing the reality of life and the obvious swings that
accompany it. The score opens with the most powerful and troubled
presentation of this theme, almost ominous in its wave-like rhythmic
movement. The choral accompaniment in the latter half of "The Real Life
of Angel Deverell" will cause John Debney collectors to immediately
recall his arrangement of Disneyland's historic "Haunted Mansion"
material, and the dark, rich elegance of the waltz rhythms that dominate
the mystique of that piece. The anticipatory choral counterpoint that
explodes in the final stanza of the theme's performance in this cue is
remarkably fresh in construct. Together with a duet for piano and cello
in the middle of the theme's performance, "The Real Life of Angel
Deverell" is among the most entertaining single cues of the year. While
the remainder of the score doesn't achieve the same resonance of force,
it's still fascinating to hear Rombi adapt this theme, and the score's
two others, for the successes and failures that Angel Deverell
experiences in her life.
As
Angel progresses into its midsection, the
title theme flourishes in lush and bright performances that are
practically unrecognizable compared to the opening cue. Eventually
returning to its origin of darkness in the latter half of the score,
this theme's transformations are sometimes achieved through simple key
changes, but Rombi's shifts are often more complicated than that. You
can delineate the creatively split personality of this theme by enjoying
its morbid half in "The Real Life of Angel Deverell," "Inspiration,"
"Mother's Death," "The Portrait" (in its most horrific variant), "The
War" (in the form of a solemn choral tribute), at the dramatic end of
"In the Name of Love," faintly in "Esme's Death" and "Angelica," and
finally returning to its early shades of midnight in "Angel's Death."
The upbeat and spirited variants grab your attention immediately with
the almost child-like, flighty, and choral "Overture," optimistically
gracing "The Publisher" before erupting with percussion and flute-aided
enthusiasm in the buoyant "London," "Success," and "Honey Moon." Faint
glimpses of the same happy spirit exist in both "Visit to Esme" and
"Marry Me," though it's the undeniably charming attitude of cues like
"Success" and "Honey Moon" that, despite the harpsichord that ties the
cues to the Victorian era, are a stylistic replica of some of the
hopelessly innocent jingles heard on American televisions in the 1950's.
The tempo of the theme changes dramatically over the course of these
cues as well, moving with dramatic and deliberate elegance in "The Real
Life of Angel Deverell" and whipping along with reckless abandon in
"Success" and "Honey Moon." For some listeners, the other two themes
will be as attractive, of not more so. One of those themes is "Angel's
Theme," a lovely yearning of youth that accompanies a girl's dreams come
true. It explodes with gorgeous piano counterpoint in "Crowning Moment"
and "Marry Me," with choral accompaniment in the former. An alternate
reprise at the end of the album reduces the theme to only a memory. As
the character grows, this theme of innocent joy becomes absent from the
film, an unfortunate but understandable pity.
The third theme in
Angel is "Paradise's Theme,"
the score's most obvious connection to the romances of the Golden Age.
The swaying strings, flowing harp, and rambling piano of this straight
forward love theme of sorts is orchestral optimism in its most
primordial form, making the romances of Rachel Portman seem downright
dreary by comparison. The role of the piano will remind some listeners
of John Williams' similar throwback ideas for
Sabrina. Hinted at
in "Overture," the theme is presented in concert format in "Paradise's
Theme" and "In the Name of Love," with longing violin solos in "A Gift
from Paradise," in understated fashion in "Jealousy," in the glamorous
violin and choral tones of "Together is Paradise," and in a somber and
slower conclusion in "The Dreamed Life of Angel Deverell." Collectors of
Golden Age film music will find each of this last theme's performances
to be pure bliss. Another one of the more interesting aspects of
Angel is the fact that there are really no notable cues to
discuss outside of the aforementioned variations on the three themes.
There are minutes or two here and there that don't carry any of the
themes, but these interludes are largely unremarkable and short.
Otherwise, there is always some form of thematic development or
exploration underway by Rombi in
Angel, and while the theme for
Angel's youthful exuberance may be somewhat lacking in its restriction
to the first half of the story, the other two themes alternate to such a
regular extent that a fan of either will find the score to merit
repeated enjoyment. The interaction between the title theme and
"Paradise's Theme," especially in a cue like "In the Name of Love," is
fascinating. Each theme has fragments that can be stated alone with
perfect recognizability. The majority of film score collectors will
gravitate towards the power of "The Real Life of Angel Deverell" if only
for its tumultuous bass string rhythms and glorious choral
accompaniment; even within this score, that one cue stands out with an
undeniably dramatic minor-key appeal. The well-balanced album is
unfortunately not in print in America, so buyers there will need to pay
import prices to fetch the European commercial pressing. For the
generally older listeners with extensive Golden Age collections, it'll
be well worth the price.
***** @Amazon.com: CD or
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