The Usual Suspects
John Ottman
" Intelligent score for intelligent movie makes no difference when in or outside the film "Written by Thomas Glorieux - Review of the regular release
What became a standard scoring assignment for Jerry Goldsmith (L.A.Confidential, City Hall) or James Newton Howard (Primal Fear, A Perfect Murder) has become the territory of a man called John Ottman. He distinguished himself not only as the editor of the Brian Singer movies, but together with his unique scoring abilities it became clear that both the movie and its mood became linked to an unforgettable approach of movie scoring. Call this beautiful in a very dark way and perfect as mood setter, this particular score is a masterpiece of musical words.
I haven't experienced much scores yet that blew me away so easily in the context of the film. Brian Singer's outstanding movie received a combination of dark but extremely effective tones, while the intriguing element of Keyser Söze made for a wonderful magical addition to an already perfect mood setting score.
Both the begin "Main Theme" and the end "The Water" hold a striking main theme, brought forward by a personal piano accompaniment. This is extremely effective combined with the more darker and mysterious elements of the story. These elements inside the movie made me aware I had to check out the score of Ottman, and without question it was one I instantly loved upon hearing it for the very first time.
The Usual Suspects helps the movie tremendously and has several moments worth remembering on disc, solely for what they create as mood. Yet don't read this as boring, because "Getting on Board" and "The Garage" are striking violent action rhythms that will not lull you to sleep. The mysterious character Keyser Söze himself receives a wonderful dark theme, impressing you easily in and outside the context. "Keyser Appears" is spot on with all the right tricks and skills. And don't forget the powerful moments in "The Killing of a Rat" and "Back to the Pier" too.
There's a terrific suspenseful rise of orchestral music in "Payback Time", and the fanfares in it aren't too shabby as well, while "The Arrests" has an interesting ethnic sound to it, apart from the suspenseful undertone. But throughout the score there still lies a hefty doses of "have I heard this before?" impressions, and in some cues more than ever. The climatic end sequence proves this all the merrier when we discover "The Greatest Trick" actually holds Basic Instinct influences (not standard Jerry Goldsmith).
In a way, The Usual Suspects will bring more power to those that saw the movie beforehand. Meaning, it has so much intelligence that the various strong orchestrations only work within the context, or at least heightening it for those who know what it represents. Considering the wondrous acclaim the movie has received over all this time, it was strange the score wasn't nominated for an Oscar or Golden Globe. Because I find it one of the most intriguing listens of the year 1995. People that don't get this score must seriously re watch the movie in the near future, because sometimes scores and movies are nothing but a perfect fit.
Tracklisting
1. Main Theme (3.40) Excellent track
2. Getting on Board (2.56)
3. The Story Begins (1.09)
4. Payback Time (1.39) Excellent track
5. Farewell Fenster (0.45)
6. "He's Here!" (1.47)
7. The Garage (2.24)
8. Verbal Kint (2.10)
9. Keyser Appears (2.35)
10. "It Was Beautiful" (1.18)
11. The Arrests (1.17)
12. Redfoot (1.39)
13. New York's Finest (1.43)
14. Kobayashi's Domain (2.23)
15. The Killing of a Rat (3.29) Excellent track
16. "I Work for Keyser Söze" (1.37)
17. The Faces of his Family (1.45)
18. The Plan Begins (1.56)
19. Back to the Pier (3.37) Excellent track
20. Casing the Boat (1.55)
21. A Gift (1.37)
22. The Greatest Trick (3.16)
23. The Water (2.33) Excellent track
Total Length: 49.58
I haven't experienced much scores yet that blew me away so easily in the context of the film. Brian Singer's outstanding movie received a combination of dark but extremely effective tones, while the intriguing element of Keyser Söze made for a wonderful magical addition to an already perfect mood setting score.
Both the begin "Main Theme" and the end "The Water" hold a striking main theme, brought forward by a personal piano accompaniment. This is extremely effective combined with the more darker and mysterious elements of the story. These elements inside the movie made me aware I had to check out the score of Ottman, and without question it was one I instantly loved upon hearing it for the very first time.
The Usual Suspects helps the movie tremendously and has several moments worth remembering on disc, solely for what they create as mood. Yet don't read this as boring, because "Getting on Board" and "The Garage" are striking violent action rhythms that will not lull you to sleep. The mysterious character Keyser Söze himself receives a wonderful dark theme, impressing you easily in and outside the context. "Keyser Appears" is spot on with all the right tricks and skills. And don't forget the powerful moments in "The Killing of a Rat" and "Back to the Pier" too.
There's a terrific suspenseful rise of orchestral music in "Payback Time", and the fanfares in it aren't too shabby as well, while "The Arrests" has an interesting ethnic sound to it, apart from the suspenseful undertone. But throughout the score there still lies a hefty doses of "have I heard this before?" impressions, and in some cues more than ever. The climatic end sequence proves this all the merrier when we discover "The Greatest Trick" actually holds Basic Instinct influences (not standard Jerry Goldsmith).
In a way, The Usual Suspects will bring more power to those that saw the movie beforehand. Meaning, it has so much intelligence that the various strong orchestrations only work within the context, or at least heightening it for those who know what it represents. Considering the wondrous acclaim the movie has received over all this time, it was strange the score wasn't nominated for an Oscar or Golden Globe. Because I find it one of the most intriguing listens of the year 1995. People that don't get this score must seriously re watch the movie in the near future, because sometimes scores and movies are nothing but a perfect fit.
Tracklisting
1. Main Theme (3.40) Excellent track
2. Getting on Board (2.56)
3. The Story Begins (1.09)
4. Payback Time (1.39) Excellent track
5. Farewell Fenster (0.45)
6. "He's Here!" (1.47)
7. The Garage (2.24)
8. Verbal Kint (2.10)
9. Keyser Appears (2.35)
10. "It Was Beautiful" (1.18)
11. The Arrests (1.17)
12. Redfoot (1.39)
13. New York's Finest (1.43)
14. Kobayashi's Domain (2.23)
15. The Killing of a Rat (3.29) Excellent track
16. "I Work for Keyser Söze" (1.37)
17. The Faces of his Family (1.45)
18. The Plan Begins (1.56)
19. Back to the Pier (3.37) Excellent track
20. Casing the Boat (1.55)
21. A Gift (1.37)
22. The Greatest Trick (3.16)
23. The Water (2.33) Excellent track
Total Length: 49.58