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Review of The Hunley (Randy Edelman)

FILMTRACKS RECOMMENDS:

Buy it... only if you're among the few who have seen the production and appreciated the respectfully noble, but restrained and somewhat sparse score.

Avoid it... if you're expecting to hear a score equal in melodramatic resonance to Randy Edelman's far more famous Civil War work on TNT for "Gettysburg."

FILMTRACKS EDITORIAL REVIEW:

The Hunley: (Randy Edelman) While most viewers remember TNT's monumental production of "Gettysburg" from 1993, Ted Turner extended his interest in the Civil War to include a 1999 production about the Hunley submarine experiments of the Confederacy. Starring Armand Assante and Donald Sutherland, "The Hunley" told the tale of the world's first submarine in battle, and the preparations for and aftermath of its debut. In 1864, a crew in a crude, man-powered submarine launched a successful attack against the Union's U.S.S. Housatonic, and it would be 50 years before a German U-boat would claim the world's second underwater kill. The cable film was moderately popular, but never caught enough interest to push a timely DVD release. It did win an Emmy for its remarkable sound effects, which were indeed a highlight of the production. Providing the music for "The Hunley" was Randy Edelman, whose collaboration with Turner for "Gettysburg" caused his most popular work. Comparisons between that score and "The Hunley" are perhaps inevitable, though the latter effort is not anywhere near as dramatically appealing. The basic elements are the same: Edelman uses a variety of organic instruments to augment his synthetic foundation, with the overall style of the work favoring the characteristics of the latter. If you were among the minority who had difficulty accepting this synthetic flavor for "Gettysburg," then it will prove even more bothersome in "The Hunley." Because the film offers far less grandeur, the score reflects the more restrained tone. The story of "The Hunley" is often slow in character development, and the music likewise takes its fair share of time building steam. As such, its undermanned instrumental depth becomes even more of a detriment. Edelman produces enough sound with his synthesizers and a few well-placed solo performances to suffice, but in the end, this score's best moments can only be described as functional.

A theme for trumpet opens the album for "The Hunley" and variants of this moderately heroic, but restrained idea are explored throughout the work. The sparse rendering of "Waves of Brotherhood" signals the loneliness of the underwater grave that awaits the crews of the submarine, and yet, given that the operation of the machine required such close teamwork, a group of three or four horns may have been more appropriate. The light romance work exudes some of the same blatant tugs at patriotic spirit, and Edelman's keyboarded solos are adequate (their highlight comes with "War and Romance"). The action sequences are the score's weakest aspect, with some cues, such as "Final Assault," nothing more than lame in their unexciting rhythms and simplistic orchestration. In his favor, Edelman uses a snare drum (possibly an electronic sample) as a sort of sound effect for rotating propellers, which is an intriguing technique. On the whole, however, Edelman's score lacks the emotional punch to be of great consequence in the film. There is so little music used in the first place that the film seemed lacking in many parts. Several pivotal scenes were absent of any underscore at all, diminishing the impact that Edelman was clearly trying to push with his respectfully noble approach. Even when Edelman's music is featured at the forefront, it refrains from dramatic depth, leaving the film with a washed-out sound that is too cheap for this otherwise impressive production. Hearing this material is a reminder of why Lee Holdridge's fully orchestral and acoustically gorgeous scores for TNT films are vastly superior, especially when matched with historical subject matter. The album release of "The Hunley" runs 40 minutes, but that includes some redundant material. The mix is inconsistent in gain levels, with the piano especially overdubbed at obnoxiously high volumes (the difference in volume during the transition between "Dark Seas (Opening)" and "The Battle Begins in a City of Flames" is irritating). The whole score seems amateurish, and when you consider the simplicity of Edelman's styles to begin with, a lackluster result is no surprise.  **

TRACK LISTINGS:

Total Time: 40:34

• 1. Waves of Brotherhood (1:35) • 2. Echoes in the Distance (1:07) • 3. Dark Seas (Opening) (3:40) • 4. The Battle Begins in a City of Flames (3:41) • 5. Training for the Dive (0:48) • 6. First Outing (2:32) • 7. Flashback to an Early Love (1:00) • 8. Aquamarine Angel (3:44) • 9. Storming Combat (2:13)

• 10. The Test Begins (5:05) • 11. Mission Improbable (1:41) • 12. Goodbyes (1:18) • 13. Final Assault (3:01) • 14. War and Romance (1:15) • 15. Torpedo on the Loose (2:08) • 16. Spiffing Up the Hunley (0:54) • 17. Boarding the Sub (1:35) • 18. Reprise of Waves of Brotherhood (Finale) (2:38)

NOTES & QUOTES:

The insert contains a lengthy description of the production as well as a note from Edelman as follows:

"In creating a musical score for "The Hunley," the composer is challenged with a story of heroism and romance set against the most intense and tragic period of American history. With that as a backdrop comes this most unique and little-known true story with such a telling point as we approach the millennium. That is, the simple concept of invention and advancement--in pushing the boundaries of progress--unfortunately at a time of the lowest human condition: that of war. Think about it... history does repeat itself, but hopefully for a positive historical result. And so it was with "The Hunley," a forerunner of things to come, yet at such personal sacrifice."

"Once again (as with "Gettysburg"), I was able to be involved with a piece of our history, having the tremendous support and passion of Ted Turner who long ago was fascinated by this story. Our collaborations have been periods of personal joy and emotionally rewarding creativity. I hope the listener can feel some of this seeping through the airwaves."

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