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Boring subject line, huh?
Okay — so I saw the film a few days back at a Columbia pre-screening, but the theater was kinda crummy and the sound was turned down (and anyone who’s seen Spiderman’s main credits with the sound turned down knows just how much that can ruin the score). Add to that the fact that I had to catch a Guinness beer tasting promotion out on Halstead, and you’ll understand why I missed the last 10 minutes of the movie.
So, last night I went to my local AMC cand saw the film in glorious SDDS Surround Sound with the volume so high, one strum of the violins could shatter glass.
All I can say is WOAH! And I mean… woooooaaaaahhhhhh!
Not only is this score NOT conservative by ANY means, it’s a downright gamble on Elfman’s part — one of the biggest I’ve seen in years. He wasn’t joking when he said he wanted to bring back OLD STYLE scoring. There are plenty of scenes where, physically, little is going on — and yet emotionally, Elfman’s going hog wild. Quite simply, this is his best portrayal of schizophrenia since Catwoman’s theme.
One only needs to look at the main credits to see why Filmtracks and their merry little brood are so full of crap — how many film composers would have taken the risk of scoring the opening WITHOUT a theme for Hannibal??? And on top of that, how many composers would have thrown convention to the wind and scored it as schizo and as loud as humanly possible — essentially playing the Red Dragon’s theme relflecting the sick, psychotic admiration for Hannibal and his undying hatred for Will?
I can see now why this score reminded people of Herrmann — only now within the film. It’s essentially a Herrmann/Golden Age technique — let the music speak for the conflicting emotions where the dialogue cannot. I’m reminded of the shower scenes from Psycho, but more importantly, the love scene from Vertigo. A couple of scenes in particular reminded me of the emotional climax Herrmann created when Jimmy Stewart embraced his long lost love at last, and Hitchcock swirled his camera around in a full 360. But where Herrmann used massively overblown swells endlessly exploding off the screen to reflect the merging of Stewart’s conflicted emotions, Elfman does the opposite. For the Red Dragon (or Tooth Fairy), Elfman employs the same technique of sucking us in with music that literally surrounds the character and reflects his inner state, but through the use of the fugue like strings hammering away while the brass pounds endlessly. It’s an unbelievable effect for scenes where, essentially, nothing is happening. Watch as Fiennes essentially argues with himself, tearing himself apart as his mind splits over what to do with the woman he both loves and hates. There’s no REAL action here (unless you count a brief sprint up some stairs) — just a man arguing with himself. And yet, Elfman’s music portrays it like the world is comming asunder — as if the screen is about to shred in half and an unholy fire is about to engulf the whole audience. That’s because, for the Dragon, his world IS coming apart — it IS ripping at the seams, about to be either consumed or spared. He’s standing on an abyss, and one wonder’s if those brass swells in the background were an intentional reflection of that — much like the Joker’s plummet to transformation and death, only this time, metaphorically.
This is the power of music that Elfman seems to grasp, and the masters understood, but is derided nowadays because it doesn’t make an easy listen for those without the patience to expand their minds beyond flashy Baroque/Romantic nonsense.
And yes, the score isn’t ALWAYS ground breaking — there’s plenty of average stings. But this IS a quasi-slasher — and even Zimmer’s Hannibal inundated us with a stings every now and then. Even WITH regard to the stings, though, Elfman remains unconventional at times. Take, for instance, the scene where Will simply flips on a light and relives (mentally) the horror of what the Dragon did a month before. All you see is a bedspread with blood spattered over it. The CONSERVATIVE approach would have been to add a brooding brass line and/or strings which would carry on for an average whole note — short and forgotten. Ohhh… scary… a half note, maybe a whole if we’re lucky. Elfman uses screeching tremolo strings ONLY and carries the damn thing on for at LEAST 13 seconds — it’s relentless, it’s frightening, and it won’t let you go like an average, run of the mill, sting. Oh sure, like Will, you may WANT to look away, but the music won’t let you — and that is the hallmark of a score that wants to AFFECT you, not just make you jump out of your seat (which is, let’s be honest, all that Zimmer did with his stings).
This is not to say that I don’t like Hannibal — cause I do. But they are two entirely seperate films. I read a complaint somewhere that Elfman’s score doesn’t have a major Hannibal theme. HELLO! The movie isn’t ABOUT Hannibal — if it were, it’d be called “My Dinner Date with Hannibal” and NOT “Red Dragon!” In this film, Hannibal is merely a means to an end — he is not the main character. Elfman, rightfully so, is concerned with the Dragon — scoring him with his schizo main theme and a child like theme B (a nice touch, considering the Gothic childhood regret theme that Harris, Tally, and Ratner capitalized on). Even the opening, as previousely mentioned, scores the DRAGON’S admiration for Hannibal, not Hannibal himself. The cannibal, in this film, is simply a tool used by both sides — interrogated by Will, worhipped by the Dragon, and abused by Dr. Chilton. Apart from the opening, there’s only one time when Hannibal takes any REAL action, and it’s a throwaway scene compared to the other films.
And to be honest, I’m not sure comparisons to Lambs are a 100% neccessarry. Of course, Elfman mentioned his devotion to Silence and Shore — but this is still a different score with different intentions.
In conclusion, I like them all equally — they’re all good at what they do.
As for Dragon, I might actually think it’s a better FILM score than Spiderman. Amazing how things can change so quickly — definately another winner from Elfman.
Peace Love and all that Jazz. . .
TexI think the score is refreshing to hear, but at the same time it’s not necessarily i could listen to and relate on. You’d have to be in a pretty dark mood to get this stuff, and where it’s not altogether as slasheresque as Frighteners by the latter half of the cd — talking about your stings and such — i find myself only listening to a small handful of tracks on Dragon…because the rest seems pretty throwaway to me with it’s shrill nature. I can only dig the child theme, wherever placed, and that’s about it. But mark my words — if the occasion ever arose that i’d feel like killing people, or writing or drawing something pretty horrific, rest assured that i’d listen to this for inspiration. This stuff IS old school…i’m so used to Elfman’s samplings and vibe scores…
I saw the film today, and Elfman’s shining moment is definitely…
DO NOT READ TO AVOID SPOILERS!
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.When Dollarhyde puts the shotgun in his mouth after arguing with “The Dragon”.
Wow – what intensity. Brilliance!
I got a kick out of the main titles too. To hell with subtlety!
Ryan
Tex – Lovely review. Couldn’t have said it better myself, so I’ll leave all the talking to you
I grinned like a maniac during the Main Titles and End Credits – the poor guy I was with looked at me and said, “Smiling before watching a serial killer flick? I will NEVER understand you…” Yes, I’d also agree that this is a better scoring-to-film than “Spidey,” and MIIB…actually, it’s the best “scoring to film” job I’ve heard Elfman do since “Sleepy Hollow.” Gloriously fantastic stuff, I tell you
-E (who is simply enthralled with the William Blake reference in “Red Dragon”…well, that and Fiennes’/Dolarhyde’s tattoo)
DAG NABBIT! I can’t afford to buy the soundtrack so I have to tease myself with the small clips on this site. And YOU guys aren’t making it any better! Shut up, Shut up, SHUT UP!!!!!
NigelSimmons, or “Mr. Dantz” (You know, I think I’ll keep this name for a while. It’s kinda’ funny.
YEah, the shotgun scene was wonderful. BUT the BLOOD ON THE BED was his best unreleased moment.
God I loved it.
gotta love how danny’s credit appears at the same time as the picture of the naked woman spanking a child
-Alonso (“you little beast”) Vences
Nyyaa! (I make funny noises when I’m mad). My stupid stupid stupid friend went and saw Red Dragon without me–and she took her Grandmother instead! Yeah, that’s right! So, I haven’t seen the movie yet.
And while I was supposed to see it last week, I inadvertantly had to stage an impromptu “gag and flogging”. (Yeah, she won’t be seeing anymore movies I wanna see with her Grandma)….
But I’m on vacation this week, so I’ll probably head down to the theatre tomorrow or such….
I’ve been re-listening to this tonight. I have to say that it’s definitely one of the top 5 best scores Elfman has done THIS decade. Anyone agree?
I do not own it to agree or disagree with you, but that review certainly makes me want to own it…I think I should get alongside Sommersby…..
I love the score.. The Main Title is one of my favorites and in my opinion one of his best! The movie was scored really well and I love to listen audio commentary on the DVD. It’s cool. Nick, you should really pick up this one. It’s really creepy at times but really cool and Dark! It is a great score. I don’t know about top 5 in the decade for sure… maybe! We still have a few scores left for the decade(if you count 2010). I would say a definite top 10. We’ll see!
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