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.