Lady In The Water Soundtrack
|Price:||CDN$ 27.25 & FREE Shipping. Details|
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For his fifth collaboration--and following the Oscar-nominated score for The Village--with director M. Night Shyamalan, James Newton Howard has delivered rather good work. Considering the supernatural tone of the movie, some of the composer's touches are predictable (a glockenspiel offering eerie punctuations, a huge choir suggestively going "oooh" and "aaah"), but he also demonstrates a sure sense of melody. Listen, for instance, to the various threads making up "Prologue." Despite the size of the orchestra at his disposal, Newton Howard always opts for subtle touches rather than wham-bam scary-movie effects. The most stereotypically actiony cue is "The Great Eatlon," but it's done as well as can be: it remains ominously restrained for quite a while, until the choir comes in to deliver an elegiac passage and the track switches to grandiose pomp. Tacked at the end of the CD are four Bob Dylan covers, including a gothic take on "The Times They Are A-Changin'" by A Whisper in the Noise, and Silvertide's rocking "It Ain't Me Babe" and "Maggie's Farm." --Elisabeth Vincentelli
Most Helpful Customer Reviews on Amazon.com (beta)
Whenever James Newton Howard writes scores for Shyamalan's films they always tend to be his best work. From Unbreakable's urban rhythms to the scratchy violins of Signs and the haunting melodies of the Village they are all distinct from one another yet instantly recognizable as being in Shyamalan's Twilight Zone.
Lady in the Water is no different. It shares some resemblance to The Village minus Hillary Hahn's solos, but it is much more than Howard in wistful mode. "The Great Eatlon" is Probably Howard's first HUGE cue for Shyamalan yet, and it works beautifully!
I whole-heartedly recommend this score and the movie as well! Go support Shyamalan and Howard! Right now! Turn off your computer, head for a CD shop, buy the soundtrack, then rush to the cinema and see Lady in the Water, the most original film of the year!
While all of the tracks are suburb, some stand out tracks are:
1) The Prologue
2) The Party
10) The Healing
11) The Great Eatlon
12) End Titles
Ohh, and the Bob Dylan cover tracks are enjoyable too. I'm not really sure why they're there, but I don't mind. All in all, every track is enjoyable and well crafted on every level. James Newton Howard really accomplished something great here, as he usually does for Shyamalan films. Let's hope this time The Academy recognizes it.