Elmer Bernstein was at the peak of his western writing powers when he scored the 1969 version of True Grit, starring - of course - John Wayne. It was even Oscar nominated. For best song. Well, quite. The Coen brothers had quite a lot to live up with their 2010 remake, but have, by all accounts, acquitted themselves more than admirably and the film has received fine reviews. And yes, I must see it.
Carter Burwell's score was never going to be anything like Bernstein's, but is actually warmer and more lyrical than I had anticipated (something more along the lines of Beltrami's tense, but superb The Three Burials of Melquiades Estrada was in my mind). The major melodic material is based on old hymn tunes, but of a fairly warm and homely sort. As Burwell noted, he and the directors were after "something that was severe (sounding). It couldn't be soothing or uplifting, and at the same time it couldn't be outwardly depressing." They are actually somewhat more pastoral and homely than that description suggests but there are hints of darkness with some subtle, but well placed bass notes. The delicate arrangements for strings and woodwind are very fetching.
The moments of increased drama - The Snake Pit and Taken Hostage, in particular - don't feel too intrusive in an otherwise surprisingly gentle album. The music merely surges to those points, then eases off again towards the low key finale. At a shade over 35 minutes, it's a surprisingly short album by 21st century film music standards, but it somehow feels just right. Western scores seem unlikely to return wholeheartedly to the Bernstein, Moross, Goldsmith, Broughton heyday and Morricone only ever seems to be referenced in parody, but this more sombre take on the genre is still highly recommended.
Shoot up varmints and git some of your cash over to Amazon.com to acquire it. Or steal it from a sheriff (just don't shoot the deputy).
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