Veronica Guerin
Harry Gregson-Williams
" The track "Bad News" makes the score worth it "Written by Thomas Glorieux - Review of the regular release
Veronica Guerin is the true story of an Irish reporter who stood against the drug cartels she was writing stories of, and ultimately she had to pay the price of her quest for the truth. Director Joel Schumacher's movie is a strong portrayed drama, starring an incredible Cate Blanchett as leading star. Composer Harry Gregson-Williams composed the year before that Phone Booth of Schumacher, earning him the returning ticket to compose the music for this movie. Considering both are worlds apart from one another, it was evident a different approach was needed.
While Phone Booth was effective, it wasn't exactly a promising listening experience. Veronica Guerin had to be different. And when it comes down to explaining that difference, it all comes down to one single track. "Bad News" is the track that keep people talking about Veronica Guerin, and rightfully so. Using a kid Harry Gregson-Williams literally picked from the streets, it pores emotion to a very emotional folkstune, leaving it to the rise of the orchestra to create the fullest impact. For 5 minutes you are left to the voice of a young boy, and the pain of an emotional drama. Telling it you musically is one of Harry Gregson-Williams' best tracks of his career.
The score doesn't stand however on that one single track. We discover a couple of upbeat Irish jigs in "Driving" and "Research", and we have our fair share of sombre material. In "Dublin 1996" the darker music is elevated through the main theme on electric violin, during "The Beating" you are mesmerized by the emotion that's running through the veins of the music, and in "The Killing" you notice the main theme again (this time backed up through light percussion).
The final track which is "The Funeral" delivers us another emotional firecracker. Someone said to me why it are always the sad songs that have to be so good, because Sinead O'Connor herself elevates the scene in the movie through her powerful emotional voice, leaving a gripping effect behind once you reach the end of the film.
In a year of various different projects, Veronica Guerin definitely stands for one of the better entries. It is powerful when it needs to be, effective when the scene requires it, personal when we demand it. It is a worthwhile addition to your collection for several reasons, and those are the moments when you know you're listening to something magical. 2 different singers are responsible for that, making a personal statement during a very powerful film indeed.
Tracklisting
1. One More Day: Sinead O' Connor (3.15)
2. Dublin 1996 (2.49)
3. Driving (1.37)
4. Preparations (1.49)
5. The Killing (5.07)
6. Research (1.03)
7. Traynor Lies (2.08)
8. The Beating (4.24)
9. Conservations (1.53)
10. First Warning (1.13)
11. Bad News * (5.58) Excellent track
12. Second Warning (2.25)
13. Deceit (3.32)
14. Never Show Your Fear (1.22)
15. The Funeral: Sinead O' Connor (2.24) Excellent track
* Performed by Brian O'Donnell
Total Length: 40.59
While Phone Booth was effective, it wasn't exactly a promising listening experience. Veronica Guerin had to be different. And when it comes down to explaining that difference, it all comes down to one single track. "Bad News" is the track that keep people talking about Veronica Guerin, and rightfully so. Using a kid Harry Gregson-Williams literally picked from the streets, it pores emotion to a very emotional folkstune, leaving it to the rise of the orchestra to create the fullest impact. For 5 minutes you are left to the voice of a young boy, and the pain of an emotional drama. Telling it you musically is one of Harry Gregson-Williams' best tracks of his career.
The score doesn't stand however on that one single track. We discover a couple of upbeat Irish jigs in "Driving" and "Research", and we have our fair share of sombre material. In "Dublin 1996" the darker music is elevated through the main theme on electric violin, during "The Beating" you are mesmerized by the emotion that's running through the veins of the music, and in "The Killing" you notice the main theme again (this time backed up through light percussion).
The final track which is "The Funeral" delivers us another emotional firecracker. Someone said to me why it are always the sad songs that have to be so good, because Sinead O'Connor herself elevates the scene in the movie through her powerful emotional voice, leaving a gripping effect behind once you reach the end of the film.
In a year of various different projects, Veronica Guerin definitely stands for one of the better entries. It is powerful when it needs to be, effective when the scene requires it, personal when we demand it. It is a worthwhile addition to your collection for several reasons, and those are the moments when you know you're listening to something magical. 2 different singers are responsible for that, making a personal statement during a very powerful film indeed.
Tracklisting
1. One More Day: Sinead O' Connor (3.15)
2. Dublin 1996 (2.49)
3. Driving (1.37)
4. Preparations (1.49)
5. The Killing (5.07)
6. Research (1.03)
7. Traynor Lies (2.08)
8. The Beating (4.24)
9. Conservations (1.53)
10. First Warning (1.13)
11. Bad News * (5.58) Excellent track
12. Second Warning (2.25)
13. Deceit (3.32)
14. Never Show Your Fear (1.22)
15. The Funeral: Sinead O' Connor (2.24) Excellent track
* Performed by Brian O'Donnell
Total Length: 40.59