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Understandably, when approaching the musical sound for The Crucible, Fenton was aware of the fact that the purpose of Miller's story and the production as a whole was to function as a commentary on persecution in the modern era as well as that of Salem's past. While there are some percussive and string techniques in his score that aide in addressing the actual period of the story, Fenton also employs a number of methods that are clearly meant to streamline the music for modern consumption. The use of flowing string romance with noble brass backing was not new in the 1990's, of course, but John Barry had popularized it for pop culture digestion. The application of subtle electronic tones is perhaps the most interesting aspect of The Crucible, a technique of purely creepy atmosphere that whines in the treble during moments of suspense and anguish. Varied percussive tones also slap away, both in drums and struck metal, the most understandable representations of behavior associated with witchcraft. The instrumentation becomes increasingly conventional as the score progresses, content to dwell upon the tortured interpersonal relationships as they reach their bitter ends. When this happens, Fenton's thematic constructs begin to grow, culminating in the touching "The Beach" and "Proctor Confesses." You won't find yourself recalling these themes after the score is finished, however, because their very slight stature and generic classical progressions are badly underdeveloped in the score and offer none of the warmth that you hear in other Fenton scores of the era, including Shadowlands most notably. Even in "Forgive Us (Crucible End Credits)," the composer barely registers with his string and oboe meanderings, the lack of depth a major detriment in the rather passionless performance. The score's most interesting passages come early, highlighted by "Dancing in the Forest," which opens with a Presumed Innocent-like electronic motif of mystery and churns with increasing intensity as it approaches its forceful ensemble rhythms for the witchcraft ceremony that opens the film. Similarly, "The Village" is the score's leading nod to the age, with folk sensibilities and a meter not unfamiliar to Basil Poledouris. Snare rhythms and pounding timpani in "Judge Danforth Arrives" announce the heavy hand of the law, but these performances are likewise sparse. The score's lack of compelling bass accompaniment is its greatest weakness, a cue like "Vengeance" expressing hints of the dread that needed to exist to simmering levels in other cues. In sum, Fenton's approach to The Crucible is adequate but underwhelming, a definite disappointment for his enthusiasts. There's nothing technically wrong with his music, but a total absence of passion is its downfall.  **   @Amazon.com: CD or Download

Bias Check:

For George Fenton reviews at Filmtracks, the average editorial rating is 3.64 (in 14 reviews) and the average viewer rating is 3.43 (in 16,898 votes). The maximum rating is 5 stars.

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