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When United 93 was announced, a lot of people asked if the film
had come too soon. With the events of 9/11 having taken place a mere
five years before, would a film that took a realistic look at what
happened onboard United flight 93 that day have an audience? And even
more, would a film of that nature adequately express sensitive feelings about it? Paul Greengrass, director of such films as
The Bourne Supremacy and Bloody Sunday, took on the challenge to revisit
those events and the resulting film is one that, while hard to watch,
generally accomplished what many thought would be impossible.
Attached to score the film was John Powell, an
assignment that would prove just as much of a tightrope experience as
Greengrass'. With the story and visuals serving to simply show
what happened instead of trying to inform the audience what they need to
think, Powell had to be careful where his music tread. Anything even
slightly exaggerated in the score would have completely negated the
point of the film. This being the case, Powell's score is heavily on the
minimalism and barely even registers on the ethnic sounds that we would
expect. Where this would sink most other works, Powell's continuing
ability to impress the listener is no less abated here.
The score opens with "Prayers" and utilizes the choral
talent of Powell's son, Oliver. The vocals give a feeling of childlike
innocence, but one befit with the mournful quality of what is about to
be shattered. There is only a slight hint of Middle Eastern influence in
this track, and it demonstrates the total extent to which Powell takes
that sound. Following up to the opening refrains is the first mixture of
heavy strings and an electronic backbeat that proves to be present
throughout the majority of the score. The string section provides just
enough texture while the electronics do most of the work. The overall
effect is off-putting, but intentionally so. As quietly beautiful as
those string passages go, the electronics are continually there to
remind us of what is about to unfold.
With "Pull the Tapes", Powell launches into his darkest
moments of the score. Almost entirely synth, this cue presents an
unending stream of percussion effects and weird synth distortions. It's
similar in idea to what Bear McCreary does for the battle sequences in
Battlestar Galactica, though here it is much darker and more
methodical in its pacing. This continues for almost three minutes before
the strings appear, though the mood is darkened even more with
their ominous tones. The staple of that cue is followed religiously
through the remainder of the score. The orchestra is never allowed much
leeway over the electronic effects, and the resulting style is one that
never lets go of both its tragedy and horror. More conventional is the
"Dedication" cue, which again melds Oliver Powell's vocals with the
string section. This is the closest the score comes to any kind of
commentary, and by the time we have reached this point, it is most welcome.
It can be daunting for those expecting something
different, but within the film it creates the necessary feeling and
doesn't even come close to pulling the viewer out of the story. Powell
succeeds with his attempt to texture his score appropriately and it
never approaches the level of commenting on the visuals. While this
could come off as a bad thing to some, I could appreciate it for what it
was trying to do. This is not the type of CD you put in for enjoyment,
but instead it provides a fascinating look at a composer who can take
such an eclectic style and actually make something of it.
The score to United 93 is great for what it is,
but given the route that Powell opted to take, it can be a hard
recommendation. This album is by no means easy listening, and the darker
feel does not bode well for those used to more heroic fare. On the other
hand, if you're into Powell's other works and want to hear something
completely different, yet still competent and good, by all means check
this one out.
Reviewed on October 16, 2006 |
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