Ah, yes, another score project that utilizes more than one
composer. Generally these types of scores have been hit and miss. The ones
that do work generally stand out quite well (witness the amazing
collaboration between Bernhard Herrmann and Alfred Newman for The
Egyptian). Of course there are those scores where collaborations
of this nature don’t work exactly like intended (Last of the Mohicans
anyone?). Unfortunately, the score for Highlander: Endgame is
fraught with the standard problems that arise from having more than one
composer.
The two composers in question are Stephen Graziano and Nick Glennie-Smith.
Say what you will about The Rock, but I
expected Glennie-Smith’s work to be somewhat enjoyable. Unfortunately,
this score turns out to be quite boring.
The CD starts off well enough, but then again, it is a traditional
Scottish piece and not part of the score. That really says something about
the state of the score. The opening song is easily the highlight of the
whole album, but it has nothing to do with the score. The score itself
really never matches the beauty of the opening piece.
The first half of the CD begins with Graziano’s contribution to
the score. I don’t know if this is the way the film was scored, or
whether the producers of the CD decided to separate both composers’
tracks. This design has its good and bad sides. It may have helped make
the score more disjointed than it is already by not sequencing the tracks
in chorological order, but it also allows easier access to either both
composers’ music.
Grazino’s work is, well, experimental to say the least. Instead
of writing in a straight style, he blends in all kinds of musical
signatures and forms in ways that don’t always work like expected.
Sometimes, the score takes on a definite Scottish origin; whilst at other
times the music suddenly changes tone completely, taking on the qualities
of, say, techno street fight music. Sometimes it works, but most of the
time it doesn’t. I found that the Scottish elements worked the best in
context of the overall score (and this goes for both composers) and why
they just didn’t stick with that one style baffles me (of course, I’ve
never seen a Highlander film, so maybe a full-blown Scottish score
wouldn’t have worked).
Nick Glennie-Smith’s music begins with track nine. His method to
approaching this project is quite different from Graznio’s and is more
traditional…in the sense of Media Ventures traditional that is. His
music definitely has the Zimmer flavor, but it isn’t as pronounced as
one might think it would be. He even pulls a slight Hornerism halfway into
track nine.
And did I mention that this is a primarily synthesized score? And
have I ever mentioned how much I generally detest synth scores? This one
is better than most, but sometimes a synth cliché pops up every down and
then just to annoy me.
Of course, I don’t mean to get down on either Graznio or Glennie-Smith.
I really enjoyed The Rock (laugh or groan
if you must) and Graznio definitely has potential. His musical
experimentations just need a little more maturity. Still, this is one of
those scores that just screams “straight-to-video-release” (even if
the film did make it into theaters). Unless you saw the film and liked the
music, or you’re such a Scottish music buff that you’ll buy anything
with shades of Braveheart, then you might want to check into this
release. All others should steer clear. **
