Review by Thor Joachim Haga [2008.3]
I consider The Kingdom among Elfman's Top 10 of
all time. Both on CD and in film. Seriously. What your review [Blunt's
review, below] neglected to mention was the obvious post-rock vibe they
were going for in the soft, textural parts (knowing Berg's connection
to and preference for this particular sound in his last film, especially
through the collaboration with Explosions in the Sky). I just love
this etheral, dreamy soundscape that lacks the often-too-obvious punch
of traditional rock. Also, the action tracks are full of the interesting
percussive effects and loops that made Planet of the Apes so great,
another score in my Top 10 list.
Score rating: ***
CD release rating: ***
Review
by Bluntinstrument [2008.1]
Danny returns to midiland with this year's high profile
score to the controversial film set in present-day Saudi Arabia. Elfman
scores nearly always set up their underlying stylistic territory in their
main titles cues: It would be intreguing if Elfman's sonic allusions to
Proof of Life and Planet of the Apes somehow sprang from
a perceived shared concern with political and emotional minefields in
non-war wars, but to the casual audio observer, he is merely creating
a landscape that feels like gritted teeth. The percussion is mostly electronic,
and feels dense (comprising both recognisable and unrecognisable sampled
sounds), foreground and coldly mechanical for all its force; live orchestra
is pared right down to a relatively modest ensemble of strings, low brass
(horns and trombones only), percussion and electric guitars. Such tightening
of the orchestral reigns is an indication of a no-nonsense thought-provoker
- think A Simple Plan, Dolores Claiborne, Proof of Life
- all scores which mostly filter out much of the usual exuberent signature
Elfman vibrant colour. In addition, the main titles also reduce thematic
content to an urgent undercurrent of rhythm (stresses on the 1st,4th and
7th quaver of a 4/4 metre) and loose pairs of notes for strings. This
textural approach is handy for films that lack heroic characters but feature
much dislocated dialogue and gritty action.
The film: Helping to crush the oil/global politics taboo
in the West which the fall-out from the Second Gulf War (Wiki-link)
had begun to disestablish, Peter Berg's film opens with a credits sequence
formed of a stunning tour de force crash course in the history
of US-Saudi politics, edited with fierce gusto and underpinned by a cold,
calculating Elfman score. After similar sequences for Hulk and
Red Dragon, Elfman is eminently qualified for this role, but it
is also important to set up a battering force which will work with the
frenetic action of the film's extended battering finale. Berg follows
up his credits with the set-up of a brutal slaughter in an American enclave
of Saudi Arabia, breathtaking in documentary-style violent detail but
more importantly unrolling beneath the intense atmosphere of an uncompromising
socio-cultural-polticial divide - an aspect which is to form the core
of what is ostensibly an FBI investigation against the clock. The feel
for investigative reality over the gung-ho or emotionalism of a strict
message movie proves the film's greatest claim for respect, and the scoring
is artfully all-but invisible for most of the journey.
Elfman's choices for all his 'real life' set films are
always interesting, not so much for their success but for the way a composer
whose home territory is with the overblown and fantastic copes with the
more mundane aspects of film scoring. 'Waiting' (track 2) shows him using
an aspect of his ensemble to contradict the harshness of his opening gambit:
he builds a comforting tapestry of guitars which somehow manages to sound
contemporary, masculine and achingly beautiful. The rest of the score
contrasts these two soundwords cue by cue. (N.B. There is a brief blur
in track 11: synths and restful guitars are gradually distrupted by a
return to rhythmic midi (and acoustic guitar), more upbeat than normal,
then relaxing back to synths/guitars.)
The most fascinating part on disc, though, is how the guitar-led
cues gradually liberate themselves from purely textural basis towards
the 'Finale', which finally goes all the way into theme-led music. The
unaccustomed dreamy gentleness of the instrumentation over chordal strings
feels part-hymn, part-lullaby, and this is what the film needs in order
to regain the thoughtful depth it might have lost to the previous half
hour's orgy of violence. It is also probably only the second part of the
film where the score must be heard and acknowledged: one cue plunged us
into the film, and another draws us back out.
In the conclusion of the reviewer, this score works very
poorly as a CD soundtrack unless the listener is anxious to relive some
of the pounding adrenalin of the film without the aid of visuals or dialogue.
Uncommonly for a recent Elfman score the problem isn't a continual pseudo-'mickey-mousing'
discontinuity of pacing but a simple lack of binding thematic material
(most of it rather blandly for Elfman in the slow guitar cues, e.g. tracks
7,9) and any sense of shape, beyond the subtle evolution of the guitar-led
cues, which might provide the listener with a sense of continuum. As a
result, the first and last tracks on a half hour loop might satisfy most
as much as the whole disc. Granted there are variances in sample 'orchestration'
but they conform so well to the unified sound of the 'Titles' music that
the result does not feel new.
In context of the film, however, it does well in enhancing
the action and harshness of the plotting whilst not over-dramatising the
emotional elements, so that by ripping out much of the extravagance of
his scoring (or perhaps investing it purely into the midi) Elfman is actually
doing The Kingdom a great service in helping maintain seriousness
of life, death and its consequences over the equally human glee of violence.
Score rating: * * *
CD release rating: *
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