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Howard Shore's Panic Room
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Author
Topic: Howard Shore's Panic Room
Camillu
Oscar® Winner
So what's the score like? The few thread that tackled this film/score tended to focus on the assets of the film, while there were only a few positive comments about the score as heard in the film.How does the score hold up on CD? I noticed that over in the Moviemusic.com listing the score isn't doing too well rating wise - but I never trust those cos I'm not sure who's voting.
Do you have the CD? Do you like it? Can you compare it to any other Shore score?
Thanks
posted 04-27-2002 06:09 AM PT (US) TimT
Oscar® Winner
Howard Shore - Panic Room (2002)
Panic Room: Original Motion Picture Soundtrack (30:04)
01 Main Title (02:08)
02 Caution - Flammable (04:51)
03 Working Elevator (04:24)
04 Fourth Floor Hallway (03:25)
05 Locking Us In (03:15)
06 Castle Keep (02:37)
07 What We Want Is In That Room (03:06)
08 Zone 19 Disabled (03:17)
09 A Very Emotional Property (03:01)
Artist/Composer
Howard Shore
Label
Varese Sarabande
Label Number
302 066 346 2
Length
30:04
Format
CD
Genre
General Soundtrack
Rating
* * *
Well...this one works really well in the movie, its a perfect suspense builder. Its the same style of suspense in the award winning The Lord of the Ring score. But on its own it fails to stay interesting. The main theme or motif introduced in the Main Title and appears through various cues is nothing more than forgetable. Its all just a rumbling orchestra that'll leave you on the edge of you seat. The score is fine for what it is, I really enjoy the fact that it has none of those cliched orchestral crashes to get your attention, but for the CD's sake it needs more, perhaps a small choir, noticable synth for added color, and a more brighter ending. The CD ends the same as it starts. But despite these detractions, I think this score is a little better than most other scores of the suspense genre.
posted 04-27-2002 07:45 AM PT (US) SPQR
Oscar® Winner
Frankly, I enjoy its pulsing intensity, and rather wish there were another 5 - 10 minutes to round it out. What I do enjoy about Shore's music is his stylistic consistency and his avoidance of popular thriller conventions (though, in itself, Shore's style has become a convention of sorts). The CD opens with 3 rather good cuts that demonstrate the composer's attention to rhythm and colour, channeling the ghost of Bernard Herrmann for his very simple 4 note theme and the spirit of Jerry Goldsmith for those stabbing thrusts of the brass or lower strings to lend urgency to the proceedings. And though the CD ends ambivalently, much like my walking out on the film itself, I simply repeat the main title for closure.
posted 04-27-2002 11:04 AM PT (US) JJH
Oscar® Winner
if he's channeling Bernard Herrmann, then why does it sound so very much like Howard Shore, and NOT Bernard Herrmann?Score's good, but another abysmal CD presentation.
NP -- King of Kings, Rozsa posted 04-27-2002 11:33 AM PT (US) SPQR
Oscar® Winner
Because he's not a parodist. I wasn't implying that he was aping Herrmann, merely calling upon the same techniques the revered composer employed to capture the tone of a picture and the mood of a particular scene.
posted 04-27-2002 12:31 PM PT (US) MillsSomerset
Oscar® Nominee
like the music from THE CELL when J-Lo enters Stargher's head for the first time, the building drums and brass and whatnot, Track Two from this disk, "Caution - Flammable" not only didn't leave my head after seeing the film in the theater, that track pretty much gets more airplay on my cdplayer than anything at the moment. Is it possible to listen to a score cut too much? Oh yes, oh yes indeed. But I really love this score, despite my excitedness to get it and then read the back in line at Tower Records going "Wow...what is this, like 28 minutes long?" Still, at full price, worth it. But I could see how it would not be to anyone who's not that big a Shore enthusiast or something.
posted 04-27-2002 05:15 PM PT (US) Old Infopop Software by UBB