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| Howard |
Signs: (James Newton Howard) Just when you thought that there
couldn't be another fresh new avenue to take with the alien invasion scenario,
director M. Night Shyamalan found another new one to explore. Aliens indeed are
invading the planet, but rather than showing their exploits in grandiose
proportions, Shyamalan conveys the story through the redemptive tale of an
emotionally distraught middle-America farming family. While it's temping to say
that
Signs is an alien fantasy flick, especially with its fascination with
crop circles and old school techniques of showing the aliens themselves, it's more
intriguing in its ability to be credible as a redemptive horror one instead, using
the terrifying event to help a family find peace. Some audiences wrote off the
conclusion of the story as ridiculous, though
Signs was the first major film
from Shyamalan not to rely on an overtly surprising twist to stun audiences. In the
lengthening list of films representing the collaboration between Shyamalan and
composer James Newton Howard,
Signs is not the strongest or weakest, but it
is a somewhat predictable entry. Both of their prior two partnerships,
The Sixth
Sense and
Unbreakable, were provided with above average scores for
stories that didn't rely heavily upon the music for their suspense. The opening
moments of
Signs might have made you think that that equation was completely
scraped, though ultimately Howard's writing for the picture is more in tune with
his other Shyamalan scores. While the mass majority of Howard's fans continued to
delight in his magnificently large-scale adventure scores of the time (
Atlantis:
The Lost Empire,
Dinosaur, etc), a devoted following of the
Howard/Shyamalan pairing was about to expand its ranks considerably. These were the
days before the high profile scores for
The Village and
Lady in the
Water made tremendous waves, but in
Signs, Howard solidified himself as
an extension of Shyamalan's psyche, with the music for his films minimalistic in
construct but very rich in texture. These earlier scores didn't garner awards
recognition for Howard, nor have they sold beyond their expectations on the record
store shelves. But the continuing quality of Howard's intense music for such an
intense director was always worth a listen or two, even before the collaboration's
greatest successes.
Like
The Sixth Sense most specifically, Howard contributes
to the story with a heightened emphasis on one section of the orchestra. In the
aforementioned film, it was the piano. Here, the piano is joined by a doubling up
on harps and several woodwind instruments, including mostly flutes, oboes and
clarinets. Their often fanciful, off-tone performances are combined with a plucking
string motif at low volumes, forming a style of mystery well-suited for the
small-town nature of crop circle incidents. That motif is specifically a rising
three-note figure that increases its presence as the film progresses, occasionally
inverting when the primary characters are their most frightened. There is
technically a title theme that develops fully in "The Hand of Fate - Part 2," but
even this noble string and horn performance is dominated by the flowing repetitions
of this three-note progression that whimsically flutters about the soundscape. In
its most fluid and harmonic presentations, ranging from the surprisingly optimistic
midsection of "Boarding Up the House" to the extremely pleasant "The Hand of Fate
- Part 2," Howard collectors will note stylistic similarities between this material
and the intoxicating rhythmic personality of
Lady in the Water (and parts of
The Village). In a general sense, Howard achieves a major accomplishment in
his score for
Signs by creating suspense out of an interstellar incident
while also employing instrumentation and a tone appropriate to small town America
and the mentality and simplicity of its farming lifestyle. Howard utilizes the
violins in a fiddle-like technique of inserting them off key for quiet periods
while the rest of the players perform their regular rhythmic motifs. Slight
electronics, never as important in their volume or role as in other
Howard/Shyamalan scores, offer the suspense associated with extra-terrestrial life,
and their background consistency is toned to perfection in the wondrous "In the
Cornfield." The light and occasionally charming tone of Howard's fluffy three-note
motif maintains a comfortable environment for much of the score, perhaps to tease
the minds of the audience into believing that there is something intrinsically neat
about crop circles, or perhaps to play to the ill-fated notion that whatever is
producing them must be benevolent. Several cues finish the cells of these string
and woodwind motifs with a seductive flourish of a harp or two. A false sense of
security is a strong asset in this approach.
The constructs of
Signs are intended for slight,
minimalistic performances for most of the score, requiring the kind of appreciation
on album that suggests elevated volumes. Only in a few cues does Howard resort to
the necessary full orchestra hits for sudden, frightening moments on screen. The
most interesting of these moments is "Main Titles," which contains some of the
score's most robust horror material. By evoking Bernard Herrmann's most effective
techniques for establishing a tense atmosphere, Howard sets up the listener for a
level of extroverted
Psycho-like shrieking and blasting that never really
develops in the remainder of the work. Instead, the majority of the rest of the
score exists in a somber realm of low brass and the occasional repetition of the
primary motif in multiple keys. On album, the listener will encounter only a few
truly engaging sequences of harmony before the extremely powerful "The Hand of Fate
- Part 2" closes the listening experience with the ultimate in positive resolution.
The personality of the score lies in the difficult subtleties of precise
instrumentation and the shifty, rising motif. The most attractive aspect of most of
the Howard/Shyamalan scores is the composer's keen sense of rhythmic propulsion,
whether stylish in the contemporary setting of
Unbreakable, classical in the
alluring violin performances of
The Village, or hypnotic in the fantasy
environment of
Lady in the Water. In
Signs, this rising motif is so
obviously the heart of the music that it succeeds despite its simplistic construct.
The score's detraction is its inability (logically) to express itself clearly until
its closing moments, leaving many bare moments of empty space. It isn't as haunting
as
The Sixth Sense, nor perhaps as creative as
Unbreakable. Its
highlights can't compete with
The Village and
Lady in the Water,
though it's a superior album experience when compared to the more troubled
The
Happening. It lacks the beauty of similarly constructed suspense scores of the
time, such as John Debney's
Dragonfly. At 45 minutes, the album for
Signs is reasonable in length, though short in memorable material and
heavily reliant on the mood it creates. As part of a compilation of Howard's music
for the director, it has upwards of ten solid minutes to contribute, and don't be
surprised if you seek far more material from its peers.
*** @Amazon.com: CD or
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| Bias Check: |
For James Newton Howard reviews at Filmtracks, the average editorial rating is 3.4
(in 70 reviews)
and the average viewer rating is 3.36
(in 86,462 votes). The maximum rating is 5 stars.
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The insert includes a list of performers, but no extra information
about the score or film.
