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Review of Cape Fear (Bernard Herrmann)
FILMTRACKS RECOMMENDS:
Buy it... if you are ready for a relentless exercise in intensely
thrilling Bernard Herrmann music, even by his own standards.
Avoid it... in the Elmer Bernstein adaptation if you prefer classic scores in their original archival sound quality.
FILMTRACKS EDITORIAL REVIEW:
Cape Fear: (Bernard Herrmann/Elmer Bernstein) With
his first film after signing a major contract with Universal Studios and
Steven Spielberg's Amblin Entertainment, director Martin Scorsese
decided to remake the classic 1962 horror story of Cape Fear. In
the original, Gregory Peck was the lawyer and heroic father figure and
Robert Mitchum was the criminal who had served time because of what he
believed to be a bad defense by Peck. The ensuing battle of nerves and
wit between the Hollywood icons made for a classic film of good versus
evil. But in Scorsese's darker outlook on life, there can't be any true
hero, and in his 1991 remake, everyone from the lawyer to his
16-year-old daughter has demons with which to work. It's more difficult
to root for Nick Nolte in the Peck role, and Robert De Niro is far more
psychotic than Mitchum ever was as the criminal. What Scorsese had going
in his favor was a $35 million budget, cameo roles by both Mitchum and
Peck (ironically on opposite sides of their original allegiances), and
access to the original 1962 score by horror legend Bernard Herrmann. The
desire to use Herrmann's score is no surprise, with the composer's last
score being for Scorsese's Taxi Driver, not to mention the
outstanding success of the music in the original. Whether or not you can
tolerate this usage of Herrmann's music in a modern setting (whether it
is this, or the remake of Psycho several years later) depends on
how awkward it is to hear that trademark Herrmann horror sound, forever
bound to a certain era in Hollywood, inserted into a much more recent
setting. Since Scorsese would be adapting the story of Cape Fear
along unfamiliar lines, he would require someone to adapt Herrmann's
material, and Elmer Bernstein was proud to do the job. While the task
seems elementary on the surface, Bernstein needed to choose where he
could move cues to complementary places in the new film, compose cues
for new sequences, and do all of that without harming the integrity of
Herrmann's highly distinct sound. Regardless of opinions about whether
the music seems out of place in a 1990's film, there's no doubt that
Bernstein successfully accomplished his task.
It will be difficult for any viewer of either film to forget the blaring trombones in the four-note title of Cape Fear. Between these harsh brass tones and the remarkably fluid, wavering strings that form a rising theme of unease throughout the score, Herrmann's score is easily distinguishable. A single hit of the orchestra in the opening cue leads to the alternating woodwinds and string theme that has so often accompanied the concept of psychosis in Herrmann's works, and despite the seemingly chaotic fuss created by the strings throughout this and other cues, there is a hypnotic tonality and melody that ripples through the score in an atmosphere strikingly appropriate for a lake or ocean setting. Unlike many other Herrmann classics, Cape Fear never allows you to come up for air, constantly brooding in Psycho fashion and maintaining an intense sense of malice regardless of volume. Herrmann collectors will enjoy a piece of Herrmann's rejected score for Torn Curtain in "The Fight," which will stand out compared to the loyalty of the rest of the work. To Bernstein's credit, it's difficult to differentiate his filler material from the straight adaptations. Much of this accomplishment is due to his perfect capture of Herrmann's instrumentation, including the obvious use of pulsating, muted trumpets. Purists will reject Bernstein's version of Cape Fear because of the updated production quality of the sound, and yet Herrmann's music (highlighted by Vertigo in these regards) is served very well by crisp, exact sound quality. Others may also be inclined to reject Bernstein's apparent adaptation of a three-note submotif in terrifying opening cue to the more expansive action sequences in the remake (the original had far less action). The digital mastering (even though it's from an analog recording) causes this score to better tickle your nerves and be even more "in your face," as it should be. For years, the album of Bernstein's 1991 adaptation was the only available recording for Cape Fear. The original 1962 score was released by a Herrmann-specific label in the late 1990's, but only in mono sound. With that in mind, Bernstein's adaptation remains the superior product, because you can't argue with the enhancements that the new recording quality make on the score. ***
TRACK LISTINGS:
1991 Adapted Re-Recording:
Total Time: 43:08
1996 Soundstage Original: Total Time: 48:57
NOTES & QUOTES:
The 1991 insert includes a very short note from director Martin Scorsese about the score.
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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Cape Fear are Copyright © 1991, 1996, MCA Records, Soundstage Records and cannot be redistributed without the label's expressed written consent. Page created 11/1/96 and last updated 4/9/06. |
