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| Ottman |
Trapped: (John Ottman) With a well-rounded cast,
Trapped
tells the story of an abduction for ransom in which an unstable criminal (Kevin
Bacon) and his wife (Courtney Love) trap two parents in separate locations while a
third accomplice kidnaps their daughter. The mental breakdown of Bacon's character
through the course of the film, as well as the strong emotional bond between the
kidnapped girl and her mother (Charlize Theron), help the film deviate from the
normal course of ransom films. Ultimately, though, too many familiar patterns sunk
any prospect of success for
Trapped, a circumstance that also afflicted its
score by composer John Ottman. Taking a greater quantity of scoring assignments for
films below the mainstream radar, the composer worked on more projects in 2002 than
he had in any other year in his career to date. The quality of those productions,
both on the big screen and on cable television, were often suspect (although it's
difficult to qualify
Eight Legged Freaks with any general descriptor because
it was so intentionally bad), and Ottman would fortunately follow with a strong pair
of major projects in 2003. For the 2002 psychological suspense thriller
Trapped, Ottman was tasked with utilizing his creative talents to compensate
for a tiny music budget. The initial inclination for the personality of the score
involved the typical fright and flight approach, pounding and screeching with terror
while providing dissonant material for the majority of the interim. But both Ottman
and director Luis Mandoki agreed that this stereotypical sound would be out of place
in
Trapped, and the two men followed an agreeable evolution of ideas when
considering the more harmonious approach that could be applied for the emotional
appeal of the film. No matter Ottman's intended result, however, he didn't have much
to work with. Due to budget constraints, the film continuously dropped source music,
putting a greater burden on Ottman to conjure up original material for elements in
the film as specific as cartoon jingles heard on a television screen in the
background of a scene. A sudden, last minute addition of a main title cue brought
the recording to 85 minutes in length. With four weeks to compose and only 17 hours
to record, Ottman was limited to 20 orchestral players. The majority of musical
instruments, therefore, would have to be simulated and performed electronically by
the composer himself.
If Ottman had proven one thing as a certainty in his early career
efforts, however, it was an ability to write creative music and suffice with less
than perfect recording ensembles and venues. In addition to his synthesizers, Ottman
utilized a piano, a few woodwinds, and some strings for the bulk of his effort, and
with this small group in mind, Ottman wrote a score that very rarely relies on loud
strikes of the instruments. The most notable explosion of typical horror writing
comes as a frightening surprise in the middle of "Abduction," following what was had
been a pleasant, relatively upbeat set of cues affirming the bond of the family. One
of Ottman's two themes for the film is designed to build upon that family
connection, established with the piano (the traditional instrument of the suburban
household), while the other was meant represent the primary criminal (Bacon) and his
mental collapse. The latter theme would eventually be adopted as the primary theme
of the film as Ottman was asked to score more reels of the project. In later tracks,
the suspense builds moderately though the use of tense strings and rumbling bass on
the synthesizers, but Ottman maintains a remarkable flow of rhythm and heartfelt
emotion throughout the score. It's not melodic up front, but it isn't pounding in
intensity either, allowing the action and dialogue on screen to speak for itself.
This somewhat hands-off approach to scoring the more obvious emotions of the film
assists the work in avoiding the pitfalls of most horror efforts, but at the same
time, lulls the listener of the score alone to sleep. Ottman pulls off an authentic,
functional score given the circumstances, except perhaps for the final "Crazy
Rescue" cue on album, which exposes some of the keyboarding and electronic
percussion as two-dimensional and a bit flat. The constructs are intelligently
formulated, but the limited scope and restrained instrumentation cannot be
compensated for by Ottman's prickly array of creative sound effects. In some cases,
as in "Paralysis," it seems like the composer was attempting to mirror Jerry
Goldsmith's synthetic-dominated suspense and horror scores of the era, succeeding to
an extent but carrying with that sound the same mundane atmosphere. A generous 65
minutes on album is simply too much material to sustain your interest, and it could
be combined by the listener with the similarly-minded
Lake Placid on the same
album without any significant transition. It's hard to fault Ottman for his
workmanlike approach to
Trapped, but the score simply can't justify its long
album presentation.
** @Amazon.com: CD or
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| Bias Check: |
For John Ottman reviews at Filmtracks, the average editorial rating is 3.17
(in 35 reviews)
and the average viewer rating is 3.05
(in 21,438 votes). The maximum rating is 5 stars.
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The insert includes no extra information about the score or film.
