|
“For a film that delves into the heart of a queen,
Alexander Desplat has written a score with much heart.”
|
King of Queens
Review by Cap Stewart
THE QUEEN details the
events immediately
following the death of
Princess Diana. The
story focuses
specifically on the
contrast of responses
between Queen
Elizabeth II and Prime
Minister Tony Blair.
The queen views the
event—and her
response—as a private
affair, while Blair
attempts to convince
her otherwise. After
all, he reasons, Diana
was “the people’s
princess,” a fact that
necessitates a public
response from
Elizabeth, for the
benefit of her
subjects (and the
world at large).
To score the film,
director Stephen
Frears brought in
French composer
Alexandre Desplat. Not
having seen the film,
I can’t comment on how
well the music melds
with the visuals. The
tone of much of the
score is much lighter
than I would have
expected, considering
the subject matter.
Then again, the point
may be to mirror the
queen’s avoidance of
any display of public
grief. Whatever the
case, as a standalone
album, THE QUEEN
provides a pleasurable
listening experience.
From the outset, the
monarchy is well
represented by a
stately declaration of
the thematic material,
the orchestration
expertly capturing a
sense of royalty. In
fact, a regal
atmosphere permeates
much of THE QUEEN’s
music. Desplat uses
electronics throughout
the score as well,
attempting to point to
the modern nature of
the story, but they
don’t sound out of
place. The organic and
stately nature of the
music is never
compromised.
A large portion of the
score consists of
driving rhythms,
pulsing strings and
the ever-present
timpani. This driving
nature may incite the
listener (at least,
one who hasn’t seen
the film) to conjure
up images of a
traveler exploring new
lands and taking in
the extraordinary
surroundings. I’m
particularly fond of
Alexander Desplat’s
instrumentation (the
harpsichord and
already-mentioned
timpani are put to
good use) and
orchestration. Whether
it’s the flute
supported by jittery
strings in “A New
Prime Minister” (track
4) or the brief harp
and harpsichord duet
in “Mourning” (track
7), the London
Symphony Orchestra is
always doing something
interesting.
Interestingly, some of
the more serious music
is laced with
nonchalant undertones,
maybe hinting once
again at the Queen’s
attempt to remain calm
in the face of
national heartbreak.
Even the more
suspenseful portions
of the score lack any
real tension. (It
could be that I’ve
just listened to too
many action scores to
consider THE QUEEN’s
offering as tense.)
That’s not to say that
there are never any
truly serious moments.
The aforementioned
“Mourning” ushers in a
new dynamic to the
score with a
slow-beating timpani
and sorrowful strings.
Another serious
segment is found in
track 16, which closes
out the album. This
six-minute cue is the
original recording of
Giuseppe Verdi’s
“Libera Me” performed
by Lynne Dawson and
the BBC Singers at
Princess Diana’s
funeral service.
For a film that delves
into the heart of a
queen, Alexander
Desplat has written a
score with much heart.
Rating:
7/10
|
Track |
Track Title |
Track Time |
Rating |
|
1 |
The Queen |
2:09 |
**** |
|
2 |
Hills of
Scottland |
2:25 |
**** |
|
3 |
People's
Princess
I |
4:08 |
**** |
|
4 |
A
New
Prime
Minister |
1:55 |
*** |
|
5 |
H.R.H. |
2:22 |
*** |
| 6 |
The Stag |
1:50 |
*** |
| 7 |
Mourning |
3:50 |
**** |
| 8 |
Elizabeth & Tony |
2:04 |
*** |
| 9 |
River of Sorrow |
1:59 |
*** |
| 10 |
The Flowers of Buckingham |
2:28 |
*** |
| 11 |
The Queen Drives |
1:48 |
*** |
| 12 |
Night in Balmoral |
1:09 |
*** |
| 13 |
Tony & Elizabeth |
2:04 |
*** |
| 14 |
People's Princess II |
4:08 |
*** |
| 15 |
Queen of Hearts |
3:33 |
*** |
| 16 |
Libera Me (Verdi) |
6:27 |
***** |
| |
Total Running Time (approx) |
37 minutes |
|
|
