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“HAWK, being a short
film, clearly does not consist of the scope that HANCOCK would
surely have flourished in, though it has provided audiences with a
momentary glimpse into HANCOCK’S potential, something all will be
hoping he fulfils.”
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A Talon Tease
Review by Richard Buxton
With the majesty of Hollywood spectaculars consistently dominating the
listening habits of the average film score collector, it is easy to forget
that many of the greatest composers today, and those of the future, began
their journey scoring short films. As both filmmaker and film composer
seek to establish themselves in the cutthroat entertainment industry,
short films become one of a vital component of one’s experience. However
unexpected a release of a short film’s score is, it comes as a refreshing
reminder of the origins of so many successful artists. Taking a similar
opportunity, STUART HANCOCK has scored MJ MCMAHON’S HAWK.
STUART HANCOCK’S fluency in the use of a choir is immediately apparent as
the score opens “Flight of the Hawk” (1), a track largely consisting of
underscore, punctuated by fleeting choral flourishes, the voices rising
from the depths alongside sweeping string statements. Whilst not stunning
to the ears, “Flight of the Hawk” promises much on behalf of the rest of
the score, and it is unfortunate that this promise is ever quite
fulfilled.
The hardest aspect of this score to grasp is how the desire to fill such
promise never makes its presence felt. HANCOCK succeeds in creating a
dark, foreboding atmosphere throughout, transforming mirages of optimism
into creeping suspense, as heard in “Roan and Taid” (3). He also succeeds
in accenting the skulking underscore with moments of outright beauty, the
opening minute of “Yn annwfyn y diwyth (The Peace of the Underworld)” (4)
for example. Yet, it is in these moments that the seemingly vanquished
potential of the score is briefly echoed, and it becomes increasingly
disheartening and often frustrating when HANCOCK’S talents are teased,
only to be stolen away before they have truly been established.
The score often descends into passages of pure atmosphere, as “Torrit
Myundawl (The Wild Hunt)” (9) and “The Burial” (6) offer little more than
an eerie backdrop. The greatest disappointment of HAWK, however, can be
found in the tenth track, “Wrth war wrth wrys (The Savage Dawn), a piece
that briefly flirts with the idea of expanding upon the potential heard in
the opening moments of the score, before returning to the ever-present
task of atmosphere-building. The track momentarily revisits the mood of
the opening seconds, before falling away, and taking most of the potential
with it.
HANCOCK’S most consistent success with HAWK is choir use, creating
heartbreaking landscapes within the vocal harmonies. “The Seed Falls” (12)
provides a powerful and haunting expedition into HANCOCK’S obvious
affinity for vocals. Yet it is his final piece, and the penultimate track
of the HAWK score that he finds his calling.
At odds with almost every other moment heard in the score, “Rising Soul
(End Credits) (13), is a remarkable moment of release, a flash of light in
the darkness, a journey into what might have been. Utilising achingly
beautiful vocal chants and calling voices, a liberated rhythm and valiant
brass, HANCOCK grants the listener a glimpse of his true ability. As if
the entire score were a red herring for these transitory final three
minutes, HANCOCK releases the ties the sought to bind him and shows his
true worth.
It is in this merciful unshackling that the greatest disappointment
arises. HAWK, being a short film, clearly does not consist of the scope
that HANCOCK would surely have flourished in, though it has provided
audiences with a momentary glimpse into HANCOCK’S potential, something all
will be hoping he fulfils.
Rating:
4/10
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Track |
Track Title |
Track Time |
Rating |
|
1 |
Flight of the
Hawk |
3:12 |
*** |
|
2 |
The Little
Hunter |
2:54 |
*** |
|
3 |
Rowan
and Taid |
1:43 |
** |
|
4 |
Yn
annwfyn
y
diwyth
(The
Peace
of
the
Underworld) |
3:37 |
*** |
|
5 |
Journey
Into
the
Underworld |
3:37 |
** |
| 6 |
The Burial |
1:43 |
** |
| 7 |
Blood Must Be Repaid |
2:10 |
*** |
| 8 |
A Hunter of My Own |
1:26 |
** |
| 9 |
Torrit Mynudawl (The Wild Hunt) |
4:56 |
** |
| 10 |
Wrth war wrth wrys (The Savage Dawn) |
3:03 |
*** |
| 11 |
Revelations |
1:29 |
*** |
| 12 |
The Seed Falls |
1:48 |
** |
| 13 |
The Rising Soul (End Credits) |
3:22 |
***** |
| 14 |
The Legend of Pwyll, Prince of Dyfed (Bonus Track) |
3:47 |
N/A |
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Total Running Time (approx) |
38 minutes |
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