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Gregson-
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The Taking of Pelham 123: (Harry Gregson-Williams)
Chalk up another remake in the "Was It Necessary?" column, an adequate
but ultimately useless modernization of a previously well-executed
concept. The 1974 cinematic adaptation of the same novel has remained
well respected through the years, a lingering relic of 1970's saturation
in its cultural aspects but a solid thriller about the hijacking of a
New York subway car. When director/producer Tony Scott decided to
resurrect the concept in the late 2000's, several elements in the plot
needed to be updated to account for changes in technology, terrorism
readiness, and fiscal considerations. Denzel Washington and John
Travolta face off in the 2009 version of
The Taking of Pelham
123, the basic plot elements staying the same but the revisions not
interesting enough to really breathe new life into the framework. For
fans of the Scott and Washington collaborations through the years, this
entry brings relatively little new to the table, the acting performances
predictable, the direction lacking style, and the original score
predictably mundane. With soft box office results and eventual worldwide
take likely considered disappointing by the studio,
The Taking of
Pelham 123 has quickly become a footnote for most of those involved.
That statement applies especially to composer Harry Gregson-Williams,
who continued his partnership with Scott for the occasion. Starting with
Enemy of the State in 1998, Gregson-Williams has produced
sufficient but, with a few exceptions, never really notable music for
Scott's films, using each assignment to continue development of (or
simply repeat) ideas established in the thrillers of the late 1990's by
him and other current and former associates of the Hans Zimmer machine.
Scott, like Jerry Bruckheimer, certainly seems to have a certain sound
that he wants to hear in these pictures, and Gregson-Williams spent most
of the 2000's yielding that result while on auto-pilot in those
assignments. While there were moments of flair and deeper resonance (not
to mention ensemble highlights) in
Spy Game, the tone of
everything from
Man on Fire to
Deja Vu and
The Taking
of Pelham 123 has been remarkably uninteresting in its continuation
of essentially the same generic thriller sound. Some of those tendencies
informed 2010's
Unstoppable as well, but at least that score had
a better developed set of character themes to enhance the interaction
between the leads in that story. By comparison, the previous year's
The Taking of Pelham 123 is a boring and tedious exercise in
disappointingly basic propulsion.
This review can't continue, of course, without making
at least some mention of David Shire's score for the 1974 original. His
approach to
The Taking of Pelham One Two Three was one that
pushed the boundaries of contemporary funk and jazz, taking sounds
familiar to blaxploitation films and infusing them with intelligent
12-tone compositional techniques and a fair amount of orchestral
dissonance to create a memorable score. While unlistenable to many in
the 2000's, Shire's music was always a stylish way of tackling the
concept, and this level of engagement is absent in Gregson-Williams'
merely workmanlike effort for the 2009 version. The lack of style in the
remake's score is mostly due to the derivative nature of its tone, the
backbone of the score once again a collection of highly manipulated
samples forced into rhythmic duty, backed up by an orchestral string
section. Piano solos develop late in the score for sensitive resolution,
but even these aren't free from ambient dissonant effects. Electric
guitars are unleashed for abrasive passages of ultra-cool force at
several points in the score. The primary duties for
The Taking of
Pelham 123 are handled by the programmers, however, whose synthetic
effects are dominated by the usual clicking, groaning, and slapping
variety. Two exceptions hint at some creative thought, but both are
relegated to only minimal frequency; the sound of screeching brakes on
the subway cars is used as a rhythmic device at the start of the score,
and rattling, chain-like samples are applied as a more ambient technique
later on. Otherwise, there exists nothing in this score to impress a
learned collector. The rhythms are frantic, the tone harsh, and motific
development kept to a minimum. A descending string line heard twice in
"Something on the Track" is not adequately utilized thereafter. Hints of
a piano theme in "It's Me, Man!" are eventually revisited and extended
late in "Manhattan Bridge" and throughout "...You a Yankee's Fan?" (yes,
the team's iconic name is misspelled in the cue title). These
personable, but still sparse highlights may save the score for listeners
in much the same way as they did in Gregson-Williams'
The Town
the following year, however don't expect any genuine character to come
from them. Compared to Shire's admittedly outdated and challenging score
from today's perspective, the Gregson-Williams version sadly
underachieves, not even providing fans of his thriller style anything
particularly interesting to hear outside of the handful of heavy
metal-inspired guitar explosions. The primarily download-oriented album
of a languishing 45 minutes in length was offered on CD by Amazon.com's
"on demand" service, but unfortunately the uncompressed sound quality
won't expose any greater intelligence in the music.
* @Amazon.com: CD or
Download
| Bias Check: |
For Harry Gregson-Williams reviews at Filmtracks, the average editorial rating is 3
(in 40 reviews)
and the average viewer rating is 2.98
(in 55,208 votes). The maximum rating is 5 stars.
|
The insert includes a list of performers, but no extra information about the
score or film. As in many of Amazon.com's "CDr on demand" products, the
packaging smells incredibly foul when new.
