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Orchestral Film Music
This is a two-disc collection of film music by Welshman Michael J Lewis. “Who?” you may ask. But don’t be ashamed if you’ve never heard of him, for it’s only a couple of years since I hadn’t either (& if you have, I’ll assume you already own this set). Then, courtesy of the internet, & the good old Gramophone Film Music guide, I began to hear some quite impossibly good things about this music, like “the best compilation of music from films so far released”*. So, when I found a copy locally, I decided to take the leap & buy a copy (or at least con my sister into buying me a copy), despite not having heard a note of the music. And is it really all that good? Oh yes. Wow. But that’s not really much of a review, so I’ll now go into a bit more detail & try to explain precisely why I believe that it is imperative that everyone who considers themselves a film music fan should take the effort to seek out this sensational set.
Probably the most impressive thing about Lewis’ music is his apparently effortless ability to write the most amazingly beautiful melodies. It seems increasingly as if melody is something of a dirty word in modern film music, but listening to this disc it’s very hard not to say that this is to the detriment of the modern scores. The heavenly & passionate melodies are everywhere, such as the two love themes from The Unseen, "Apassionata" from The Passage, "Portias' Theme" from Julius Caesar, or "Grazioso" from The Medusa Touch. But before you start to suspect that this set is 'simply' a collection of ravishing & memorable melodies, there is plenty more to it, that adds considerable dramatic bite. The opener Julius Caesar is huge with grand brass fanfares & timpani volleys leading off some strident string writing. In a similar mold is the grand Upon This Rock. The final track, "Pieta", has an exquisite melody, first heard on violin over a shimmering string backdrop, & moves towards an impossibly enormous climax for full orchestra & organ that provides a sensationally shattering end to the set. Then there’s the excerpt from 92 In the Shade, written just for guitar & harmonica, the exotic Egyptian styling of Sphinx, & the wildly exuberant orchestral valse from The Stick Up. The Passage & Ffoulkes/North Sea Hijack add suitably exciting action cues that get the adrenaline flowing with their sheer drive, whilst pleasingly never obscuring the composers’ shining melodic gifts.
At the time of writing, Theatre of Blood is the only one of these films I have seen. A delicious main theme utilises harpsichord & mandolin to give a Shakespearean tone. It’s outrageous & flamboyantly over the top music – which suits Vincent Prices’ performance (& the tone of the film) perfectly. "The Duel" is light-hearted & sprightly, whilst "Death in the Theatre", with its' galloping brass, is appropriately grand & exciting. Best of all is "Edwinas' Theme" – yet another of this composers’ sublime melodies that you could easily imagine accompanies a love scene. Watch the film, however, & it actually accompanies Price removing someone’s head whilst they sleep! The effect is simply breathtaking, & it ranks as one of my personal favourite pieces of film scoring.
Then, of course, there is The Medusa Touch – a huge horror score for full orchestra & large organ. A violent & spiky "Murder" gives was to a mysterious & brooding "Aftermath". But best of all is the staggeringly relentless "Destruction of the Cathedral", which piles along at a terrific pace with furiously grand writing for the full orchestra (reprised in the "End Title") with mammoth organ climaxes. Like all of these discs (particularly the climax of Upon This Rock) it’s best played very loud. But I haven’t even yet mentioned The Madwoman of Chaillot, with it’s fascinating percussion only cue & two more fine melodies (including "Aurelias’ Theme" – one of the most beautiful in all film music), the atmospheric yet eminently melodic Hound of the Baskervilles, the sublime Rose & the Jackal... enough. If you’re not already convinced then I don’t think there’s much more I can say. Words do not do this music justice. Every single track is impressive, & there’s plenty of diversity meaning that there is pretty much something for everyone – in the unlikely event that you find one or two tracks not to your personal taste, then I’m sure you’ll find plenty more that you will simply adore. So what are you waiting for? Get yourself over to his site where you can listen to samples & hear for yourself just how great this mans’ music is, & then order a copy for yourself. You won’t regret it. Incidentally, a number of his scores have since had full-length promotional only releases, which you are likely to be able to find from most specialist soundtrack stores.
DISC ONE