Composer: George Fenton
Lable (Release Year): LaFace Records (1999) Availability: **** Rating: **** | |
If I were to hire a composer to score a literature/historic film like Anna and the King, other than John Williams, two names would come to my mind first: George Fenton and Patrick Doyle. Having scored literature films like Dangerous Beauty, Dangerous Liaisons, and Shadowland, he should have no problem in scoring this one. However, unlike others, Anna and the King takes place in Thailand instead of any Western culture. So Fenton has to approach the score a little differently. I must say Fenton did a good job in creating the exotic flavor. (Though I am not sure if I heard is authentic Thai music.) After the soft love song, sung by Joy Enriquez , the album continues with the impressive "Arrival At The Palace" cue. The first two, three minutes of the track provides an excellent grand and epic feel. Then, the first frequently used motif is introduced. It is usually played by ethnic instruments (I don't know what they are called exactly). It sounds a bit sad but you can hear "some hopes" in it. It describes the feelings of a stranger in a strange land very well. Then there are four short cues. "Meeting the Children" and "Tuptum" are the tracks that have the strongest ethnic flavor. "The Rice Festival" is another excellent track. It contains another very beautiful motif. Unfortunately, it can only be heard briefly on that track. "Rajah Attack" is the first heavy cue that contains heavy drum beating. "Betrayed" is an extended version of "Rajah Attack". "Anniversary Polka" is another highlight of the score. It does not sound like polka to me but it a fine piece of classical dance music. Just imagine Strauss' dance music and you will get the picture. "`I Am King, I Shall Lead'" features yet another good dance tune. "Flowers on the Water" and "Chowfa's Death" have more sad feelings relative to the others and do not have a strong thematic material. The melody of the song "How Can I Not Love You" can be heard fully for the first time in "Moonlight Beach". A piano version of the full melody returns after a bombastic opening of "The Execution". It is the most lyrical track of the album. The epic feelings of the 2 track returns once again in "Anna Returns". To my surprise, "The Bridge" is very serious and intense throughout. It sounds like someone is ready for a war. The drum motif appeared before is once again used. The album ends with "I Have Danced With A King" which is an elegant orchestral version of the song. The score is soft and gentle for the most part except the three intense cues. The grand and epic moments are spread out through out the score. "Arrival at the Palace" and "I Have Danced With A King" are the tracks that you can hear the full blossom of the orchestra. Although the score seems to have many motifs, I still feel that it is not thematically strong enough. Most of them are very short. The only full theme is the melody from the song and I think it is mediocre. If you are looking for an exotic score that has occasionally larger than life orchestral moments, this score is for you . | |
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