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This
King Won't Sing |
Anna and the
King
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The holiday season of 1999 was blitzed by a host of noteworthy movies with accompanying noteworthy scores. Among them is George Fenton’s score to the highly anticipated film Anna and the King. The film takes a different approach to telling the story of Anna from the Roger and Hammerstein’s musical classic. Similarly, the score takes on a more authentic approach with orient-flavored woodwinds, percussions, and strings. Gaping
at the preview trailer back in May of
1999, I took note of the stunning music
used (I later found out to be Kitaro’s
score for the 1993 film of Heaven and Earth)
and could only hope that the film’s
composer would meet such levels of
emotion.
This
score released by LaFace
Records unfortunately begins
with highly marketable
pop-end-credits-tune produced by Babyface.
I say “unfortunately,” simply
because of its order of appearance. These cuts usually fit
best at the end of the CD. It is a decent song, built from
the tried-and-true top-forty formula of
the nineties. The melody of this pop
song is derived from the main theme in
Fenton orchestral score. By
now, film score fans should have accepted
the fact that a pop tune played over the
end credits is a given for most highly
marketed films.
In any event, one might hope to keep such
tracks relegated to the easily skipped
final track. George
Fenton has surely demonstrated his talent
for the romantic drama with his work for
films like Dangerous Beauty and Ever
After. With Anna and
the King, he raises his level expertise by a notch or two.
The Golden Globies have already
taken note of it and the Academy is likely
to as well. Some
might say this score never reaches
full-flight, but it can also be said that
this score never becomes overbearing or
predictable which usually leads to
infrequent insertions into the CD player. Fenton
captures a myriad of emotions from the
gorgeous, The Rice Festival (track
7), to the heartbreaking Flowers on
the Water (track 11), to the menacing
Rajah Attack (track 8) . All the
while, Fenton does not evoke the “I’ve
heard this before” listener reaction. The
dramatic element is increased a great deal
in this film compared to the musical
version and these changes provide Fenton
with the opportunity to put some punch
into the score. Much
more serious elements in the film warrant
much more serious, rather intense, music
which serves to offset the more
sentimental tracks nicely. Also, found within the score are two tracks that are purely European, a waltz, "I am King. I Shall Lead," and a polka, Anniversary Polka. Each of these tracks provide an interesting diversion without crossing the line of musical interruption. George Fenton has truly done a marvelous job with this score. With the pressures of the famous musical, The King and I, on both film director and composer, the product produced could have been much less original. What will the audience remember if this King isn't singing? Well, at the very least, film music fans won't soon forget this effort from Fenton. Track Listing and Ratings
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