Bulletproof Mizzy

By Randall D. Larson     September 18, 2003

THIS WEEK'S RECOMMENDATIONS

Eric Serra's score for BULLETPROOF MONK, the Chow-Yun Fat martial arts fantasy by first-time feature director Paul Hunter released last week on DVD, is a pleasing mix of synth-ocated rhythms and sampled Asian textures. The soundtrack album, issued on Lakeshore Records (33754), comprises 35 tracks. Serra, whose past work has been inconsistent (a lackluster James Bond score for GOLDENEYE but a series of very effective scores for director Luc Besson with LA FEMME NIKITA, THE FIFTH ELEMENT, and THE MESSENGER: THE STORY OF JOAN OF ARC), provides a richly emotive score incorporating full orchestra with electronic elements. The score is built around a trio of primary themes: a slow, and often lilting melody emphasizing woodwinds that personifies the character of the Monk, especially his spiritual personality; a cute, pizzicato violin motif for the relationship between the Monk and Kar, his streetwise protégé; and a mystical mysterioso that emphasizes the ancient Scroll that the Monk has sworn to protect. Each melody effectively captures the subtexts behind the characters, as well as the spiritual Tibetan devotion that lies at the heart of the film. Action material is straightforward and laced with elements of the thematic melodies so that it never becomes pure dissonance or chaos. The Monk's theme is a very solid main melody (introduced in "End of Destiny" and "Temple of Divine Truth") that gives much of the film its potent heroic drive. Most of Serra's melodies are performed by the orchestra, with the electronics added above or below to give the music a depth and texture, and the result is a very pleasing sound, rich in melodic power and thematic interplay. The CD is available through www.buysoundtrax.com also see the label's web site at www.lakeshore-records.com. Last week's DVD release of BULLETPROOF MONK, by the way, contains among its hour's worth of extras a very nice segment on Serra and his music

for the film.

Composers Nathan Barr (BEYOND THE MAT, FROM DUSK 'TILL DAWN 3) and Angelo Badalamenti (TWIN PEAKS, BLUE VELVET, CITY OF LOST CHILDREN) ratchet horror up to a whole new level with their mesmerizing, nerve-jangling score for CABIN FEVER, released this week on La-La Land Records (LLLCD 1008). The film, written and directed by newcomer Eli Roth, tells the charming little tale of a group of people trapped in the woods who are being methodically killed off by a horrifying flesh-eating virus. Badalamenti provided the main musical theme, while Barr composed the balance of the score. The music is backwoods spooky, but in a modernistic, introspective way. Synths and acoustics merge to create quite a nightmarish sound design. There's also a really cool vibes-and-percussion jazz motif by Badalamenti for "Deputy Wilson." And thanks to La-La Land for identifying which cues on the CD were written by which composer! While the 76-minute CD contains songs used in the film, there are more than 30 score tracks of varying length (one minute to more than five minutes in length), including three bonus tracks containing Badalamenti's original material. The CD includes notes about the film and its music from director Roth. Get it from www.lalalandrecords.com.

Fred Karlin has

released a very limited (850 copies) edition collection of some of his best TV music of the late 1980s in Electronic Chronicle: The Fred Karlin Collection, Vol. 3. Issued by the Australian label Reel Music Down Under (RMDU2), the CD is available in the US from www.buysoundtrax.com, www.intrada.com, or www.screenarchives.com. More than an hour of very compelling synth-based music is compiled from four TV thrillers, HOSTAGE FLIGHT (a thriller about airline passengers who overthrow a gang of hijackers), MURDER C.O.D. (a psychopath-for-hire thriller), DADAH IS DEATH (a fact-based drama about two Australians sentenced to death for drug smuggling in Malaysia and attempts to free them), and FINAL JEOPARDY (an urban thriller about a small town couple seeking to survive while lost in an urban jungle). Each of the films has some terrific moments of action, which Karlin scores with electronic potency. The chase in FINAL JEOPARDY, for example, really pulses along frenetically, with strident shards of synth driving it relentlessly onward while also giving the story an increasing claustrophobia. MURDER C.O.D. flits and flies with nervous energy as Karlin's music paints a disturbing and inexorable portrait of the killer. The interplay between tender scents of piano and the persistent throbs of the synthesizer in "Preparing for Murder" creates both tension for the killer and compassion for the victims he stalks. There are some fine emotive moments in DADAH IS DEATH ("Prison" and "Epilogue," most notably) where Karlin's synthesizers provide a rich eloquence. The release includes substantial liner notes about each film as well as comments from Karlin about recording them.

Finally, who

would ever forget the finger-snapping, harpsichord-blazing main theme from television's THE ADDAMS FAMILY, or the corny singing of Eddie Arnold and Eva Gabor in GREEN ACRES? Their composer, Vic Mizzy, whose efforts in feature films like THE NIGHT STALKER, THE SPIRIT IS WILLING, and a whole slew of Don Knotts comedies have been resurrected for CD release by the dedicated folks over at Percepto Records, has released his first pop album, called Songs for the Jogging Crowd (Vicster Records 001). The release includes newly remastered versions of the original themes to both of those TV shows, plus ten cute and clever songs about life in Hollywood, getting old, getting healthy, and life in general. The tunes swing and sway and pop and twist with a gentleness not unlike that of Green Acres itself, but often with a wry sense of humor that wouldn't be out of place among the denizens of the Addams Family. The tunes are very simple, performed by Mizzy with musical accompaniment from veteran guitarist Del Cacher (creator of the famed Wah-Wah guitar, who also played on a number of Mizzy film scores). Mizzy's voice is admittedly far from being fine-tuned, but there's a sense of honesty and immediacy about the album, of songs gently told among a small group of friends, that gives it a unique charm; and always with a nice sense of humor. "The Huff and Puff Song," from where the CD gets its title, recalls the humor of Alan Sherman, while "Name Dropping" and "Merry Xmas, Hollywood" benefit from Mizzy's insight into life beneath the studios.  Get it from www.percepto.com but also have a look at Mizzy's own web site at www.vicmizzy.com.

SOUNDTRACK & FILM MUSIC NEWS

Music from the movies reports that Howard Shore is currently working in London on the final score of THE LORD OF THE RINGS trilogy, THE RETURN OF THE KING. So far the composer has written and recorded half of the score, which is expected to run some 180 minutes. The film opens on December 17th. 

Don Davis has

recorded his score for the final film in THE MATRIX trilogy, REVOLUTIONS. Music from the movies reports that the orchestral recording took place between August 11-21 and September 10th, with choir recorded on August 21st. Security was tight at the recording sessions, with guards posted at the doors of the studio. Scoring staff had to leave the control room while the directors and composer discussed key plot moments. Don Davis has written what is described by many as the best score of his career to date.  

Speaking of Davis and THE MATRIX, be sure to get a copy of issue #39 of the print magazine Music from the movies, which features complete coverage of all of the MATRIX scores, including the video game and the ANIMATRIX series, with extensive interviews with Davis and the other principals within the scoring team, including Erik Lundborg, Ben Watkins, and Zig Gron.

Film Score Monthly

reports that Aleph's long awaited premiere CD of Lalo Schifrin's score to THE HELLSTROM CHRONICLE will be released on October 21st, and will feature the composer's complete 58-minute score. Equally exciting, the label is planning the first ever complete score CD (including outtakes and alternates) to Schifrin's classic score for DIRTY HARRY, tentatively expected in the early months of 2004.

Next month, Lakeshore Records with release both song and score soundtrack CDs from UNDERWORLD, a horrific love story set during the coming war between vampire and werewolf races. The film roars into theaters this Friday. The song CD includes contributions from artists as diverse and respected as Finch, Trust Co., Skinny Puppy, Page Hamilton, and David Bowie, to name a few. Each track on the album is either written exclusively for the project, is an exclusive remix, or is a rare version only available on this release. The score

CD features the original soundtrack music by Paul Hasslinger, with "sonic treatments" by industrial sound designer Brian Lustmord. This CD also features the bonus song "Red Tape" that was featured in all the UNDERWORLD trailers and TV advertising. See www.lakeshore-records.com.

The Journal Of Film Music has launched its new website at www.ifms-jfm.org. The JFM is a highly erudite and relentlessly scholarly organization that, while providing an extremely valuable amount of research and exposition about, primarily, the Golden Age of film music, does retain a notable intolerance toward those unable or uninterested in sharing its lofty academic perspectives or eloquence. Enter their site but be sure to wear a coat

and tie.

Hexacord Records has released millEnnio Morricone, a 22-track compilation of lounge and party music from Italian films like LA DONNE INVISIBLE, GLI INTOCCABILI, and SLALOM. The CD is sort of along the lines of that compiled on Colosseum's 1996 Mondo Morricone series, with the Italian maestro's unique brand of palette-rich lounge music. See www.hexacord.com.

Perseverance Records reports that their premiere CD release of Denny Zeitlin's score for INVASION OF THE BODY SNATCHERS (see my review in the August 21^st Soundtrax column) has sold out and is out of stock. Quick check BUYSOUNDTRAX.COM, INTRADA.COM, or SCREENARCHIVES.COM (all of which list the CD in their online catalogs) for any remaining copies. The label is considering repressing the album.

Coming in

October from La-La Land Records is the original motion picture soundtrack to producer Michael Bay's lavish remake of THE TEXAS CHAINSAW MASSACRE, which opens in theaters nationwide on October 17th. The score is by Steve Jablonsky, who composed additional music for the recent blockbusters PIRATES OF THE CARRIBEAN and BAD BOYS II.

The Creative Emmy Awards (not the regular Emmys, awarded on September 21^st) were handed out on September 13^th. Here are the winners of the dramatic music awards:

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  Outstanding Music Composition For A Miniseries, Movie Or A Special (Dramatic Underscore): Bruce Broughton - ELOISE AT THE PLAZA (ABC)


• 
  
  Outstanding Music Direction: Bill Conti, Music Supervisor and Composer - 75TH ANNUAL ACADEMY AWARDS (ABC)


• 
  
  Outstanding Music Composition For A Series (Dramatic Underscore): Sean Callery - 24 (FOX)


• 
  
  Outstanding Main Title Theme Music: Jeff Beal - MONK (USA)

Soundtrax is our weekly Movie Soundtrack column.

Comments or suggestions for future columns? Contact Randall at Soundtrax@cinescape.com.