Filmtracks Traffic Rank: #1,208
Written 4/20/07
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Buy it... if apocalyptic romps with energetic orchestras and choirs
are always in order for a pleasant Sunday morning listen, no matter how
derivative and predictable they might be.
Avoid it... if John Frizzell's habit of providing adequate, but not
necessarily fresh horror music doesn't stir your soul.
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| Frizzell |
The Reaping: (John Frizzell) Films about the
plagues of the Old Testament can be lively and entertaining, especially
when modern special effects show all the nasty parts --especially the
locusts-- in all their apocalyptic glory. It's a good topic with which
filmmakers can prey upon the nightmares of God-fearing folks in the
audience, especially when you throw in Hilary Swank as the
all-too-buff-looking professor sent to a small Louisiana town to debunk
the wrath of God-type events that are happening there. Maybe the concept
of hurricanes could be pointed to the Old Testament, too. Why not? What
she finds there is an actual manifestation of those pesky old plagues,
along with some terrible dialogue, sketchy direction, and predictable
plot twists. Critics have certainly seen these events unfold on screen
before, and along with aforementioned problems, a dreadful ensemble cast
performance led the film to its demise in the review columns. Warner
Brothers certainly had foreseen this outcome, for the studio had held up
the project in post-production for an entire year to try to salvage it
through edits and re-arrangements. One of the parts of the production
that was thrown out was Philip Glass' score, which begs a significant
number of questions mostly related to why Glass was attached to the
project in the first place and what kind of music he would actually
write for such an awful B-rate horror flick. As anybody familiar with
his career might predict, Glass' sound doesn't mesh with this genre, and
perhaps the most interesting aspect of this entire affair would be to
ponder his contribution. At any rate, though, the studio brought in a
more consistent horror composer in the form of John Frizzell to provide
a last-minute score for The Reaping. With a career littered with
both normal and supernatural horror and thriller scores, Frizzell can
write stereotypical music for films like this in his sleep, and his
finished recordings for The Reaping extend that reputation. If
you could sit back and imagine every cliche you could take advantage of
for this kind of biblical nonsense on screen, you'd come up with the
same list that Fizzell apparently did, for The Reaping ultimately
sounds as predictable as it could possibly be.
One thing is also definitely clear: writing a score
about the biblical apocalypse must be lots of fun. It's everything about
The Passion of the Christ gone horribly wrong, in a musical
sense, and the striking battle between beauty and dissonance in the
score is amusingly appropriate at the least. The fully orchestral score
is complimented by a series of strong synthetic effects to cater to the
sense of the unknown. A 60-member choir provides exactly what's expected
as well; in "God Intervenes," their majesty is unquestioned, while in
"Locusts," their debt to Jerry Goldsmith's
The Omen score is
equally unquestioned. Moments of revelation are offered with sweeping
beauty, though the majority of the score joyously tackles the entropy of
the end of times with enthusiastic zeal. A title theme exists, with its
most prominent and enjoyable performance existing in "The Boy," which,
along with the previous cue and "Trip to Haven," mark the only lengthy
segments of easy listening on the album. Other motifs are well
referenced. The dissonance that occupies most of the remainder of the
score isn't unlistenable at most times because of Frizzell's remarkable
creativity in orchestration. A touch of Elliot Goldenthal drips from the
ceiling in
The Reaping, and equally intelligent is the
incorporation of instrumentation to represent sound effects for both the
locusts and flies. Frizzell is quite adept at capturing the spirit of
panic and aggression with the ensemble, forcing relentless rhythms of
torturous tones that defined both
Thirteen Ghosts and now
The
Reaping. Still, so much of the inspiration for this score is clearly
pulled from established norms for the genre that you can't help but roll
your eyes and shake your head at how well he compiles it all. The only
significant disappointment comes at the end of the album; first,
Frizzell finishes "The Boy" with the unfortunate dissonant crescendo
seemingly necessary to get your score accepted in this kind of film, and
then steps into muddy waters with a wretched, rock-based rendition of
the title theme. Otherwise, you'd have to say that Frizzell pulled all
the right strings that Glass likely did not, and while none of it would
have made any difference in the end because of the film's larger
problems, Frizzell has created for
The Reaping a promotional
sampler of talents that perfectly represents what any horror-scoring
expert could ever desire.
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