12 - The Michigan Daily - Friday, September 18, 1998
New
'Titanic'
score sails
.191
The Washington Post
Obviously, there's little chance of a
sequel to the highest-grossing film of all
time -- the "Titanic" sank, you may
recall - but that's not the case with the
biggest-selling soundtrack of all time.
Hence "Back to Titanic" (Sony),
more of James Homer's lovely orchestral
score. Also included are lively reels and
jigs from "An Irish Party in Third Class"
(along with a haunting Celtic "Lament'"),
Maire Brennan's ethereal reading of
"Come, Josephine, in My Flying
Machine" and several pieces by the "on
board" string ensemble, including a state-
Jy "Nearer My God to Thee" (reprised
polo by fiddler Eileen Ivers). Sandwiched
between "Titanic Suite" and "Epilogue
The Deep and Timeless Sea" is
Homer's evocative solo piano perfor-
mance of "The Portrait," later reprised by
Celine Dion as "My Heart Will Go On."
-Unlike the majority of soundtrack
=sequels, this one enriches the sonic expe-
rience rather than merely exploiting the
box office success.
"Saving Private Ryan: Music
From the Original Motion Picture
Soundtrack" (DreamWorks). In hind-
sound, music is the last thing one remem-
bers from "Saving Private Ryan." It is
absent from the action scenes that domi-
nate the film, and when the John
Williams score does appear, it almost
serves as a kind of relief. This is
Williams' 16th score for a Steven
Spielberg film, and it may be his most
subtle, from the somber grace of "Hymn
to the Fallen" and "Revisiting
Normandy" to the ominous overview of
"Omaha Beach" and the personal paeans
"Wade's Death" and "High School
Teacher." Like the men it honors, the
music is quietly heroic, full of survivalist
determination and pragmatic melan-
choly.
"The Mask of Zorro: Music From
the Motion Picture" (Sony). Call this
one "Sketches of Mexico." James
Homer's lively blend of flamenco
dancers, castanets, clapping hands,
declamatory trumpets and furiously
strummed guitars cleverly evokes
"Sketches of Spain." Avoiding the cheesi-
ness of the old television score, Horner
crafts lush romantic vignettes ("Elena
and Esperanza," "The Confession") and
highly energized tableaux (the dizzy
dance steps of "The Fencing Lesson" are
particularly fun). Misstep: Horner and
lyricist Will Jennings attempt to re-create
"My Heart Will Go On" via "i Want to
Spend My Lifetime Loving You."
Performed by Latin star Marc Anthony
and Tina Arena (Australia's Celine Dion)
and produced by Jim Steinman.
"Polish Wedding: Music From the
Original Motion Picture Soundtrack"
(Milan). Luis Bacalov's charming score is
not strictly Polish; it has echoes of sever-
al Eastern European cultures, as well as
Gypsy fervor and tango elegance
(Bacalov is from Argentina). The instru-
mentation ranges from sprightly violins
and soaring clarinets to Satie-like piano
and church organ, while the moods
embrace familial freneticism, courtship
gamesmanship, wedding party playful-
ness and romantic devotion, with Bacalov
conducting the Orchestra di Roma.
"Pi: Music From the Motion
Picture" (Thrive/Sire). At last, a true
techno-color soundtrack! From Clint
Mansell's ominous drum and bass open-
ing and closing themes and
"P E.T.R.O. L.," the dizzying Orbital track
used in a chase sequence, this score
effectively evokes the paranoia and claus-
trophobia at the heart of Darren
Aronofsky's sci-noir film. Mansell, for-
merly of Pop Will Eat Itself, constructs a
varied score, from the austerity of
Autechre's "Kalpol Intro" and the spa-
cious moodiness of David Holmes's "No
Man's Land" and Gus Gus's "Anthem,"
to Banco de Gaia's quirkily pulsing
"Drippy" and Massive Attack's trip-hop
"Angel."
® "There's Something About Mary:
Music From the Motion Picture"
(Capitol). Happily, this collection under-
scores the comedy's theme of unrequited
love without evoking its low humor or
neurotic subtext. As he does in the movie
itself, former Modern Lover Jonathan
Richman serves as a postmodern
lover/geek chorus with the setup title
track, as well as the mopey "True Love Is
Not Nice" and a less bleak update of "Let
Her Go Into the Darkness." Highlights
include bouncy declarations like the
Dandy Warhols' "Everyday Should Be a
Holiday" and the Push Stars'
"Everything Shines" Ivy's moody
lounge lament "This Is the Day," '80s
keepers like Joe Jackson's "Is She Really
Going Out With Him" and Danny
Wilson's lush "Mary's Prayer," as well as
the Foundations' jubilant "Build Me Up,
Buttercup."
Courtesy of Detroit Festival of the Arts
Les Olseaux de Lux, stilted puppets by Neighborhood Watch Stils International, walk the steets during the '97 fest.
Detroit arts festival offers
diverse dose of cultire
Courtesy of Paramount Pictures
As the ship sank, an onboard quartet played "Nearer My God to Thee," which is featured on the second volume of the popular
film score.
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