Urban Cinefile
"the Pixar Glaze, where these complete technical geniuses would just grow pale and start looking at each other like 'Does he know what he's asking? "  -Brad Bird, writer/director, The Incredibles on his naïve wishes in preproduction
 The World of Film in Australia - on the Internet Updated Tuesday July 28, 2020 

Printable page PRINTABLE PAGE



Review by Brad Green:
Blame it on Pythagoras I say. The whole astonishing lot. The beauty of Mozart, the absurdity of The Spice Girls, the decadence of jazz and this lovely James Horner score. Pythagorasí own musical talents are not well documented Ė I like to fancy he mastered the (right angle) triangle Ė but by unlocking the secrets of musical intervals and the principles of consonance, the great Greek number cruncher linked mathematics and music in a way that has resonated ever since.

Of course music theory does not automatically transform itself into the food of love. It has to being marinated in a good deal of artistic sensibility before it tastes of emotional beauty. Some minds have the recipe for turning numbers into intricate game theory, and some transmute them into touching harmonies. This score is hardly a Nobel Prize level of achievement, but it has already copped an Oscar nomination and could just possibly get the numbers to snatch the statue.

Itís certainly one of Hornerís most consistent efforts. For he has had a tendency to compose flawed gems. Always there is that gorgeous lush sound, always there are accessible motives and fascinating modulations, and often they are mitigated by overbearing repetition or a breach of the frontier between sentiment and sentimentality.

This time Horner has got the equation just right, without altering the template. His signature tonalities and nuances are there from the start: rich strings, whimsical piano figures and a central theme exploiting an oscillating interval. Thereís also the human voice. While most of the songs that have been tacked on to Hornerís scores since Celine Dionís titanic Titanic hit have sounded uncomfortably contrived, Charlotte Churchís contribution here, both in song and in the body of the score, is thoroughly enchanting.

Her tone has a substance and maturity that belies her teenage years, and at the same time carries an inherent innocence and purity. It is perfect for this soundtrack. The Power Of Love does not always need to be embodied in a power ballad, and Churchís voice has just the right angelic and lenitive quality for a true story about the rescue of troubled genius. Within the score her wordless melody blends unobtrusively with the orchestrations, and her song is a snug extension of the instrumental cues. Closer in style to Howard Blake than pop diva land, Hornerís melody is only slightly tarnished by lyricist Will Jennings once again demonstrating a mastery of the clichť.

This is an "enhanced" CD with the bonuses including standard extras such as the film trailer and a few stills, plus interviews with Horner and director Ron Howard. The conversations are short in length and plentiful in platitude, but Hornerís interview can be viewed as video as well as text, which is a nice touch.

In any case, Hornerís music speaks for itself. This is one of the most fluent and eloquent scores of his career. Within his trademark parameters, he has rarely captured the essence of a story so pointedly. The mood travels easily from dark to light, chaos to order, genius to madness and despair to optimism. Man has been making some kind of music since he could bang two rocks together. But it was a mathematical understanding of that basic instinct that gave composers the tools to create art. This score mightnít be a landmark of music history, but if Pythagoras heard it I think heíd be pretty pleased.

Published March 7, 2002

Email this article




TITLE: A Beautiful Mind

ID: 44001 61912


FEATURED ARTIST: Charlotte Church


© Urban Cinefile 1997 - 2020