Dedicated to reviews and news of music for film, TV and games

Wednesday, July 02, 2008


The Edge of Love
Music by Angelo Badalamenti
UCJ 1772844 (EU)
20 Tracks 45:31 mins

This new World War II-set love quadrangle is a fictional tale, starring Keira Knightley, Sienna Miller, Cillian Murphy and Matthew Rhys, and is based on real characters, including Welsh poet Dylan Thomas.
New Yorker Angelo Badalamenti is perhaps an unusual choice as composer for such a throughly British film, but he has actually done a good job, not only providing the score, but also collaborating with director John Maybury on a number of original songs, some performed in the film by Knightley, but others by the likes of Beth Rowley, Madeleine Peyroux, Patrick Wolf and Siouxsie Sioux. Singer Knightley is not, but she can just about carry it off, though she would be advised not to quit her day job.
Badalamenti's score is described by the composer himself as "tragically beautiful," with much melancholy, and even tragic, string writing, but also a tragi-love theme, best heard in the acoustic guitar-lead "Fire to the Stars"and "Home Movies," with "Holding Rowatt" probably the most unashamedly romantic theme of them all. Of course, his trademark "weirdness" (think the films of David Lynch) is also in evidence on tracks like "Underground Shelter," with its distant piano rag. Davie Hartley's piano provides a cheerful playout in the closing "Caitlin's Theme."
In addition to the aforementioned vocals, the album also features a track bySuggs, together with some of Thomas' poetry, read by Rhys, and underscored by Badalamenti.
The accompanying booklet features colour stills from the films, full music credits, and notes from both the film's director and composer.

Get Smart
Music by Trevor Rabin
Varese Sarabande VSD 6904 (EU)
20 Tracks 42:16 mins

The latest '60s TV show to get the Hollywood treatment is the spy spoof Get Smart, now starring Steve Carell as the bumbling Maxwell Smart, with Anne Hathaway playing the dependable Agent 99.
Trevor Rabin has provided the score, which is very much from the Remote Control stable, including the opening "Smart Dreams," which is reminiscent of Hans Zimmer's Backdraft theme.
But of course, how could anyone make a Get Smart movie without featuring the famous theme from the show, composed by Irving Szathmary, and it duly gets a fair few workouts here, albeit with a more modern feel, complete with big and bad electric guitars and techno rhythms even.
Often incorporating Szathmary's theme, Rabin's score plays things pretty straight and certainly "kicks ass" at times in enjoyable action tracks like "Cake Factory," "Skydiving,""Rooftop Fight,"and "The Big Chase;"with proud, militaristic colourings in the likes of "Max Denied" and "Max Takes a Bow," and plenty of stealthy movement in between.
All in all, a very entertaining listen then. Having been brought up on the original Get Smart, I wonder if I shall enjoy the film itself as much. Certainly, if they had to make it, I cannot think of a better choice of actor than Carell for the lead. We shall see.


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