Composer:
James Newton Howard
Label:
Decca Records
Related Reviews:
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The Dark Knight
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Lady in the Water
Reviewed by Derek Tersmette
February 23, 2008
Based on a bedtime story M. Night Shyalaman used to tell his children every night, Lady in the Water became the subject of his newest fantasy/thriller film. After The Sixth Sense, Unbreakable, Signs and The Village, with which Night really put himself on the map in Hollywood, he decided to part with Disney’s studio’s (creative differences, what else?) and take Lady to Warner Bros.. In this environment, apparently, he felt he was able to tell his story adequately. A superintendent of a hotel (Giamatti) rescues a woman from his pool who seems to be from a fairy tale and wants to make her way home. Of course, certain complications arise, as more supernatural creatures enter the story and intend to ensure that ‘the Lady’ never reaches her home. Critics haven’t gone wild over this film and although I enjoyed much for Night’s previous work, it really doesn’t matter. We’re here to talk score.
That’s right, unsurprisingly, Night contracted Howard again to score his blue fairy tale. Howard having scored all his four previously mentioned films, there certainly shouldn’t be a lack of experience. It doesn’t show in the score either, quite the opposite in fact. Howard has constructed a magnificent piece of music here, the composition of the score consisting of both magical, beautiful themes and thrilling suspense music. He calls upon mostly piano and supporting strings to make soft theme statements, and sometimes choir for extra power. For suspense, Howard utilizes heavy, dark strings in harmonic percussion, backed often by shrieking brass. The music stays at all times coherent and is intelligently developed throughout the album.
That latter remark is what struck me most about the CD, because the score on album is actually more of a symphony in its composition. ‘Prologue’, for instance, starts of with soft vocals, then taken over by a water-like composition of piano and strings that introduce the main theme, but no more than that. Howard won’t give it all just yet. The theme itself is so instantly beautiful and memorable, you will immediately recognize it upon return, later on in the score. The album first lets it sink in, continuing with two tracks of true suspense. Both ‘The Party’ and ‘Charades’ feature climactic string percussion backed by brass. ‘The Party’ moves on with a flute solo and makes a statement of a daunting, transcending theme. ‘Charades’ leads to a subtle notion of the main theme, which by then will make you shiver. The most dramatic tracks are stacked in the middle, for ‘Ripples in the Pool’, ‘The Blue World’ and ‘Giving the Kii’ all breath powerful emotion. Howard employs the string motif composition again, but makes room for percussion, effects and beautiful instrumental solo’s. The line of thought is carried onto ‘Walkie Talkie’ and ‘Cereal Boxes’, which both feature beautiful majestic arrangements and providing for the reprisal of Howard’s various themes. The use of piano takes care of the suspense with support of building strings. The beauty of it all is the continuous presence of harmonic composition, which Howard intelligently manages to maintain, even in more difficult portions of the score.
The last four score tracks on the album are all masterpieces on their own. ‘Officer Jimbo’ deserves particular mentioning. A really beautiful solo is supported by the water-like composition Howard keeps implementing in his music, while the cue proceeds into the dark theme and a beautiful choral moment, after which Howard picks up the solo again. Wonderful stuff. ‘The Healing’ delivers the most expressional theme treatment on the album, performed entirely by piano and strings. Its softness and calmness makes you lose yourself in the delicate theme, which, by the way, never outstays its welcome and is always breathtaking to listen to. ‘The Great Eatlon’ is one of the most explosive finales Howard has ever written. Its orchestration made me think of ‘Tarawa’, the great choral cue on the album of Snow Falling on Cedars. Howard reprises all his minor themes here, but they’re compositionally so well connected to one another, they rather serve as a buildup to a choral statement of the main theme which is supported by full orchestra. I wonder if this track will be topped this year. ‘End Titles’ closes the score with a lovely, trademark Howard theme introduced by piano, then carried over to full orchestra.
This is one of those score album I feel like I can never get enough of. The music is always interesting and remains to be so after multiple listens. The themes and rich composition make sure of that. As said the album is intelligently mixed and sequenced (I believe the album editors indeed have messed around with the chronology). On top of all that, this is a real James Newton Howard score, with perhaps a few borrowed traits, but this score will surely appeal to anyone who is remotely attracted to his work. The running time of the score perhaps on the short side, but during the experience I hardly noticed this and it is certainly no backstabber. ‘Lady’ has, in my opinion, surpassed any other James Newton Howard score for an M. Night Shyalaman film, and could well be in the top-three Howard scores of all time. Marvelous.
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...This is one of those score albums I feel like I can never get enough of...
- Prologue
- The Party
- Charades
- Ripples in the Pool
- The Blue World
- Giving the Kii
- Walkie Talkies
- Cereal Boxes
- Officer Jimbo
- The Healing
- The Great Eatlon
- End Titles
- The Times Are A-Changin'
- Every Grain of Sand
- It Ain't Me Babe
- Maggie's Farm