In Memory of Wojciech Kilar

 Wojciech Kilar (1932 - 2013)
Image source: Culture.pl

The sad news came yesterday of Wojciech Kilar's passing at the age of 81. Born in 1932, the Polish composer has become one of the most celebrated of the classically trained composers. His musical career first came to prominence in the 1960's, when he represented the Polish Avant-garde movement along with the likes of Krzysztof Penderecki. It was at this time that he became acclaimed for his classical and symphonic work, eventually moving into film scoring.

Although he scored over 100 films, he never truly achieved recognition from a larger audience, but became a favourite for many others fans of composing and film scoring. Of all the film scores he wrote, his most well-known is probably Bram Stoker's Dracula (1992), as well as The Ninth Gate (1999), Death and the Maiden (1994) and The Pianist (2002). Arguably, his most well-known symphony was the epic Exodus (1981). At the time of his death, he was continuing to compose symphonies for concert and orchestra.

Below is a selection of works from across Wojciech Kilar's life. They show his classical influence, and also demonstrate just why he will be missed by music lovers across the world.



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5 Alternative Christmas Films

As the festive season approaches once again, the typical Christmas films will also make their reappearance, but here, it's time to take a look at five films which may not be commonly associated with the Yuletide season, or may have slipped under the radar altogether...

01. Batman Returns (1992)

PLOT: As Christmas descends on Gotham City, the mysterious Penguin (Danny DeVito) rises from the sewers after apparently saving a baby. As the Penguin becomes a public hero, he finds himself running for mayor. Batman (Micheal Keaton) becomes suspicious and sets out to expose the connection between the Penguin and crooked businessman Max Shreck (Christopher Walken). Meanwhile, Shreck's long-suffering secretary Selina Kyle (Michelle Pfeiffer) becomes the vengeful Catwoman after being pushed too far...

For those looking for a darker and more surreal kind of Christmas. Tim Burton's second take on Batman may have baffled audiences on its release, but is now picking up the recognition it deserves. The film casts a more cynical eye over the holiday season, with the Penguin's plight allowing for satire on both the media and the business world's attitude to Christmas. Although the villains take the spotlight, Micheal Keaton's subtle and sinister Batman still gets some great moments. Unlike the studio-controlled first film, Burton gets to run wild here, filling the snow-covered Germanic city with nightmarish takes on Christmas clichés, as well as the kind of outcast characters he handles so well.



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02. Terry Pratchett's Hogfather (2006)

PLOT: It is the night before Hogswatch (Christmas) in the magical Discworld, but all is not right. The Hogfather has gone missing, and if belief isn't restored the sun won't rise. To put things right, Death (Voiced by Ian Richardson) takes on the Hogfather's mantle. Meanwhile, his granddaughter Susan (Michelle Dockery) must search for the Hogfather, eventually confronting a crazed assassin (Marc Warren).

Based on Terry Pratchett's subversive Discworld novels, Hogfather has become somewhat forgotten. Made as a two-part TV movie for Sky One, the film does an effective job at translating Pratchett's offbeat humour and characters to the screen, with impressive production values and a supporting cast featuring the likes of David Warner and David Jason. The film also manages to be both celebratory and cynical of the Yuletide season, all done with the subversive Pratchett brand of humour, as well as delivering an affecting theme about the power of belief. Although quite rare and barely repeated, Hogfather is well worth seeking out.

03. Die Hard (1988)

PLOT: New York cop John McClane (Bruce Willis) goes to Los Angeles' Nakatomi Plaza on Christmas Eve to reconcile with his wife (Bonnie Bedelia). However, during a Christmas party, the office complex is taken over by a group of terrorists led by Hans Gruber (Alan Rickman). With his wife among the hostages, a lone McClane must use his wits to foil Gruber's plans and free the hostages.

Although released in the summer, lacking many Christmas conventions and being often violent, Die Hard has nevertheless become a festive favourite for many. Although Christmas never truly impacts on the plot, it's always in the background in the form of decorations and sleigh bells in the score. Die Hard also differs from many action movies of its time by presenting a flawed and human hero who ultimately triumphs through his wits and stamina, and like in many other Christmas films, achieves a sort of redemption along the way. Overall, it all results in one of the greatest action films of all time.



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04. Gremlins (1984)

PLOT: Teenager Billy Peltzer (Zach Gilligan) receives a mysterious Christmas present in the form of a mogwai named 'Gizmo' (Voiced by Howie Mandel). However, after instructions are disobeyed, Gizmo spawns a legion of vicious 'gremlins' that threaten to tear the sleepy town of Kingston Falls apart.

Like Die Hard, Gremlins has established itself as a favourite among those looking for an anti-Christmas film. Gremlins does just that, gleefully subverting festive clichés at every turn with a flair for black comedy. The film evoked controversy on its release, in particular Kate's (Phoebe Cates) anti-Christmas monologue. As a result, the film became one of the first films to influence the PG-13 rating, along with Indiana Jones and the Temple of Doom.



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05. The Nightmare Before Christmas (1993)

PLOT: Jack Skellington, the Pumpkin King of Halloween Town becomes disillusioned by his own holiday. After discovering Christmas Town, he becomes determined to bring festive cheer to Halloween, but unintentionally creates a disaster that threatens Christmas.

In 1993, Disney executives were so baffled by Henry Selick and Tim Burton's warped animated epic that they released it on their adult branch Touchstone. However, Nightmare went on to become something of a phenomenon, with its distinctive stop-motion animation, all spires and gothic shadows, as well as its classic Danny Elfman soundtrack. Stop-motion lay in the futures of both Selick and Burton: Selick went on to adapt James and the Giant Peach (which briefly re-uses the Jack Skellington model as a dead pirate) and Neil Gaiman's Coraline. Burton went on to direct Corpse Bride over ten years later.



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Happy Christmas!

HONOURABLE MENTIONS
It's a Wonderful Life (1946), Lethal Weapon (1987), Edward Scissorhands (1990),
The Muppet Christmas Carol (1992), Trapped in Paradise (1994), Elf (2003)

Five Cuts From Kamen

Image Source: Film Music Society

 

It has been ten years since the tragic death of Michael Kamen, who has since become recognised as one of the best composers of his time. Across his career, he composed eleven ballets, concertos with saxophones and electric guitars, as well as numerous film scores including Die Hard (1988) and Highlander (1986).

He was also known for the enthusiastic air he brought to interviews. However, he was diagnosed with multiple sclerosis in 1997, and passed away from a heart attack in 2003, aged 55. Here are five samples of scores from Kamen's career showing off his range and scope...


1. Die Hard (1988)

One of Kamen's most recognised scores is still his soundtrack to 1988's Bruce Willis blockbuster. It remains a perfect example of a score adding to a film, with Kamen's atmospheric music highlighting the claustrophobic atmosphere of the Nakatomi Plaza and creating tension during the many close-range set pieces. Particularly memorable are the occasional use of sleigh bells in the background, reminding the viewers of the Christmas time setting without making it too evident.



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 2. Highlander (1986)

A slightly overlooked score when compared to bigger hitters such as Lethal Weapon or Die Hard. Kamen's score to the cult 1986 film is one of his very best. The music accompanying the New York scenes is solid, but where this score truly shines is during the Scotland segments. Kamen's lush, orchestral score puts emphasis on the epic Scottish landscapes that serve as the backdrop to the training scenes. Equally impressive is the score's ability to endure even alongside the more recognisable Queen tracks that accompany it in the film.



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3. Don Juan DeMarco (1995)

A much quieter and understated soundtrack. The score to the 1995 Johnny Depp film gave Kamen a chance to show off a more exotic and foreign side, and he rose to the occasion, delivering an appropriately sensual score that incorporates elements of the Bryce Adams song Have You Ever Really Loved a Woman?



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4. The Dead Zone (1983)

Kamen's score for David Cronenberg's Stephen King adaptation goes against conventional horror scoring, highlighting instead the mystery of Johnny Smith's (Christopher Waken) predicament. The result is a haunting and tragic score that sits alongside the more subtle of Kamen's work. The score retains a sombre and contemplative atmosphere that avoids cliché.



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5. Licence To Kill (1989)

Alongside John Barry, many other composers have had their own stab at a James Bond score. These composers include the likes of George Martin, Bill Conti, Eric Serra and Thomas Newman. In 1989, the task was given to an enthusiastic Michael Kamen, who provided the score to Timothy Dalton's controversial second film as the British agent. It has been argued that this score is somewhat unremarkable compared to the rest of Kamen's output, but it clearly benefits the film. From the Gunbarrel onwards, the score suggests a more dangerous and serious feel, with a slight Latin-American flavour thrown in to represent the film's locales.

 

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Bram Stoker's Dracula (1992): A Review

Bram Stoker's Dracula (1992), directed by Francis Ford Coppola, has become one of the most famed and iconic adaptations of the classic novel. Starring Gary Oldman as the vampire and Anthony Hopkins as his nemesis Van Helsing, the film has entered the cultural zeitgeist similar to the films featuring Bela Lugosi and Christopher Lee. However, in retrospect it is a film that is superb in some departments, while remaining quite flawed in others.

The core story remains the same as the novel: It is 1892, and solicitor Jonathan Harker (Keanu Reeves) is sent to Transylvania to manage the affairs of the mysterious Count Dracula (Gary Oldman), after the previous solicitor Mr Renfield (Tom Waits) went insane. There, he discovers that Dracula is not all he seems. As the Count heads for London, it seems that Harker's wife-to-be Mina (Winona Ryder) may be in great danger...

With this general structure in place, the film adds new several plot threads, most of which are intended to add depth Dracula's character. A love story angle is introduced, and although it succeeds in adding layers to Dracula's character, purists may be disappointed with some of the deviations presented here.

The film is most notable for its over-the-top, often theatrical atmosphere, which presents its own range of triumphs and pitfalls. The acting is often a mixed bag, with some less-than-stellar moments from Sadie Frost and Billy Campbell. Anthony Hopkins as Van Helsing is very over-the-top, but he's clearly enjoying the role, as is Tom Waits as Renfield. Much has already been said about Keanu Reeves' accent, but he acquits himself quite well as the doomed Harker. The cast is rounded off with solid turns from the likes of Winona Ryder and Richard E Grant.

For the most part, Gary Oldman is actually quite understated, despite his outlandish costumes. His appearance subverts the popular images of Dracula made famous by Lugosi and Lee, and this helps to make him one of the most memorable takes on the vampire.

Although the acting and story may be a mixed bag, where this film truly shines is in its production values and effects. Francis Ford Coppola has long been held as one of the greatest directors of all time, and here it's easy to see why. The film is almost entirely constructed of interesting camera shots and uses of colour (Eyes appearing in the clouds, Renfield rising from his cell.) The special effects are refreshingly old-fashioned, with practical shots being favoured over CGI. There are a number of highly impressive moments, including the extending arm of the coachman, and Dracula's transformation into a massed pile of rats.

Wojciech Kilar's haunting and atmospheric soundtrack introduces several recurring themes, which also lend weight where the acting sometimes fails. Overall, Bram Stoker's Dracula has dated very well. Although it's not exactly the most faithful adaptation and the performances vary, it remains worth watching for its striking visuals alone.



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Wojciech Kilar's Dracula

Portrait of Wojciech Kilar by Cezary Piwowarski
Image source: Wikipedia

Born in 1932, Wojciech Kilar has become one of Poland's most esteemed composers, and has provided a number of highly regarded film scores and symphonies, including Exodus in 1981. Of all his film output however, his most famous is arguably his score to Bram Stoker's Dracula (1992), directed by Francis Ford Coppola. I will be shortly posting a retrospective review of this film, but I have decided to single out the soundtrack for this post.

This was Kilar's first true entry into scoring for a mainstream Hollywood film, and the resulting soundtrack is regarded by many to be one of the very best things about the film. Gothic and dripping in atmosphere, it is regarded even by the film's detractors as an appropriate backdrop to the events. Kilar's range is fully demonstrated here, as the music switches from the dark and gothic tone of The Brides, and the sensitive and subtle Love Eternal. The latter is somewhat reminiscent of the work of Golden Age composers such as Miklos Rozsa.
                                                                                                                              

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First Cut

 I am a student journalist from Dublin and this is the first post from my new blog The Final Picture Show. Here I will post my thoughts on film both past and present, and the soundtracks that accompany them. I hope this blog will be successful, and an enjoyable experience for both myself and whatever readers I pick up along the way.