Bernstein's score revolves around a single main theme
developed immediately and strongly in the opening cue (and eventually
fading without victory in "One of the Last"), and the theme's identity
involves a much stronger sense of pounding rhythm than we had heard for
several years from Bernstein. A timpani and brass fanfare opens and
closes the film, complete with gong and tapping light percussion;
several cues within the score also let rip with the timpani, broad
cymbal crashes, and other percussive diversity that is assisted by a
clear recording quality. High volume brass sequences litter the score,
though their performances aren't particularly memorable outside of their
basic propulsive nature. The "Hijacking" cue throws a snare into some of
these outbursts, providing some truly menacing moments. Comedy cues seem
completely misplaced, however, as Bernstein can't seem to resist the dry
humor in some of Willis' performance and returns to 1980's form.
Conversational cues, such as "Felina's Story" make use of pleasant
woodwind solos (no ondes martenot, though essentially similar), and if
you step back and look at Bernstein's score as a whole, it's hard not to
get the impression that the music was just not menacing or drab enough
for Hill's vision of the tale. If Hill was looking for a score as
gratuitous as the film's violence, then it's clear why Bernstein was
fired from this job and his music thrown out. Despite the score being
one of Bernstein's more impressive large-scale efforts of the 1990's,
and Bernstein's understandable anger over the rejection of his work
(which happened on five or six major films in the last decade of his
career), Hill ended up with a replacement score that was even worse. Ry
Cooder only writes film scores on the periphery in his career, and while
his score on the surface might sound like something George S. Clinton or
even Randy Edelman might write, his music here is nothing less than
atrocious considering the era and location of the film.
Cooder's title theme is a rocking electric guitar and
saxophone motif that tears at the lowest ranges of both instruments. The
rhythm to this theme is good, and the band drums and assortment of
ticking high percussion is faintly enjoyable, but once again, it has
nothing to do with Jericho whatsoever. It's as though Hill went to
Cooder and said "Bernstein's given me a geriatric score... spice this
thing up with coolness." Outside of the title theme at the beginning and
end, Cooder offers nothing but droning electronics and occasional sound
effect samples, plunging the score into monotony and occasional
irritation. In "Lucy's Ear" and "Bathtub," the guitar and sax return in
painfully slow, meandering tones. Cooder's most interesting point
includes a bizarre pipe organ and female vocal effect with the guitar in
"Drive to Slim's." The entire endeavor seems pointless without the
pizzazz of the opening theme, and Cooder's work offers nothing
memorable. At its best, you get a solo acoustic guitar that
Brokeback
Mountain fans will recognize. There's a soft rock song (without
vocals) in the final track on the album that would be a pleasant listen
on a tropical island somewhere. The snazzy title theme will win some
fans, too, but the rest of it is a wasteland of basic synths. You have
to wonder if Hill listened to Cooder's faux Western rock score and had a
fleeting thought of resurrecting Bernstein's recordings for the picture.
At any rate, the film was unsalvageable anyway, so who cares? On album,
few people seem to have taken an interest. The Cooder score is long out
of print and is sought mostly by fans of the artist. Among all of
Bernstein's rejected scores of the 1990's,
Last Man Standing
received a rare release from Varèse Sarabande that remains a
little more readily available on the secondary market. Sound quality on
both albums is commendable, which serves Bernstein's score more than
Cooder's, for the vibrant recording quality puts a spark of life into
his serious action rhythms. Film score fans should ignore the Cooder
product all together, and Bernstein's album receives a luke warm
recommendation. It doesn't seem like it would have fit the picture all
too well, but on its own, it contains flashes of energy that went sadly
missing from many of Bernstein's final scores.
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