The Count of Monte Cristo
Edward Shearmur
" another winner to remember and behold "Written by Thomas Glorieux - Review of the regular release
The Count of Monte Cristo is a tale told many times before, and yet people didn't seem to get enough of the entertaining tale of revenge, reminding people easily enough of those swashbuckling movies of the 1940's. But the tale wasn't the only thing that made the movie so entertaining. The strong direction of Kevin Reynolds, the excellent cast that made us live the adventure (Caviezel, Pearce and Harris amongst others) and the colorful costumes and settings made the movie such an interesting watch. Add to that Edward Shearmur's detailed orchestral score and you've got a winner on all hands. Edward Shearmur composed the excellent powerhouse Reign of Fire during the same time, making his year a most memorable one.
The score is not one of full utter bombast like Reign of Fire, a score so complex and non thematic that made it a gigantic challenge but also a fantastic experience. No, The Count of Monte Cristo is a lot more thematic but still has that ballsy approach that lies in either the orchestration or simply the idea behind the music. And that's what I like so much about this score. For instance "Introduction" brings forth the stylistic voice of Shearmur, opening with bells and exotic percussion, leading way for a short choir and a fanfare to open this score well. But the greatness lies behind that. A track you have to enjoy for its complexity and orchestration is "Landing on Elba", because it uses flutes and trumpets so fascinating in its rhythm that you immediately think back at John Williams. It is literally that divvying.
"Marseille" is calmer, with beautiful renditions of the main theme, ending with a moment for harp. And what to think of the opening of "Betrayed" with its thundering Reign of Fire like brass opening, or the beautiful love theme in "Abbe Feria"? After some darker moments of underscore (with more moments for the harp) we move ahead with brief but fun tracks like 8, that once again introduces us to the rhythmic genius of Edward Shearmur. "Escape from the Island" on the other hand is a treasure to behold. After a soft opening with the love theme we have a brass fanfare that puts Sphere and Reign of Fire into the memories for good, before ending with a wonderful resolving main theme statement. And there's no stopping Edward Shearmur's triumphant voice when he delivers you a thrilling dance to the end in "An Invitation to the Ball", a track that literally went into my top 5 of 2002.
The tracks after that vary between the great fanfares of Shearmur's work and the darker underscore that shows us Dantes' frustration and Mondego's intentions (something that can please and displease the listener from time to time). The heartbreaking love theme in "After the Party" shows real promise while "Retribution" is a deeply darkish underscore piece, throwing but a couple of fanfares into the pool to stir up the surface. The ending's satisfying though, with a conclusive main theme in "End Credits" (that once again brings forward a John Williams sound in spe).
At first The Count of Monte Cristo didn't work for me, giving me several sensational moments in an album that I didn't fully enjoy. But watching this excellent movie, hearing it in context and test driving the album a couple of times more made me a fan of this particular soundtrack. Because Edward Shearmur delivers here an incredible detailed, deliciously entertaining and full bloodied mature composition that makes me wonder why a composer of his skills isn't getting more attention today. Some of his scores are heralded as some of the most memorable scores of its year, and The Count of Monte Cristo is one of them. A complexity you rarely find in today's scores, matched with an orchestral thematic voice (at times matching John Williams in tone), Edward Shearmur delivers you The Count of Monte Cristo, another winner to remember and behold.
Tracklisting
1. Introduction (1.54)
2. Landing on Elba (3.32) Excellent track
3. Marseille (4.22)
4. Betrayed (3.52)
5. Chateau D'If (4.26)
6. Abbe Feria (2.23)
7. Edmond's Education (0.58)
8. Training Montage (1.54) Excellent track
9. Escape from the Island (7.23) Excellent track
10. Finding the Treasure (2.52)
11. An Invitation to the Ball (2.12) Excellent track
12. Involving Albert (2.46)
13. After the Party (3.05)
14. Retribution (5.28)
15. End Titles (5.46) Excellent track
Total Length: 53.03
The score is not one of full utter bombast like Reign of Fire, a score so complex and non thematic that made it a gigantic challenge but also a fantastic experience. No, The Count of Monte Cristo is a lot more thematic but still has that ballsy approach that lies in either the orchestration or simply the idea behind the music. And that's what I like so much about this score. For instance "Introduction" brings forth the stylistic voice of Shearmur, opening with bells and exotic percussion, leading way for a short choir and a fanfare to open this score well. But the greatness lies behind that. A track you have to enjoy for its complexity and orchestration is "Landing on Elba", because it uses flutes and trumpets so fascinating in its rhythm that you immediately think back at John Williams. It is literally that divvying.
"Marseille" is calmer, with beautiful renditions of the main theme, ending with a moment for harp. And what to think of the opening of "Betrayed" with its thundering Reign of Fire like brass opening, or the beautiful love theme in "Abbe Feria"? After some darker moments of underscore (with more moments for the harp) we move ahead with brief but fun tracks like 8, that once again introduces us to the rhythmic genius of Edward Shearmur. "Escape from the Island" on the other hand is a treasure to behold. After a soft opening with the love theme we have a brass fanfare that puts Sphere and Reign of Fire into the memories for good, before ending with a wonderful resolving main theme statement. And there's no stopping Edward Shearmur's triumphant voice when he delivers you a thrilling dance to the end in "An Invitation to the Ball", a track that literally went into my top 5 of 2002.
The tracks after that vary between the great fanfares of Shearmur's work and the darker underscore that shows us Dantes' frustration and Mondego's intentions (something that can please and displease the listener from time to time). The heartbreaking love theme in "After the Party" shows real promise while "Retribution" is a deeply darkish underscore piece, throwing but a couple of fanfares into the pool to stir up the surface. The ending's satisfying though, with a conclusive main theme in "End Credits" (that once again brings forward a John Williams sound in spe).
At first The Count of Monte Cristo didn't work for me, giving me several sensational moments in an album that I didn't fully enjoy. But watching this excellent movie, hearing it in context and test driving the album a couple of times more made me a fan of this particular soundtrack. Because Edward Shearmur delivers here an incredible detailed, deliciously entertaining and full bloodied mature composition that makes me wonder why a composer of his skills isn't getting more attention today. Some of his scores are heralded as some of the most memorable scores of its year, and The Count of Monte Cristo is one of them. A complexity you rarely find in today's scores, matched with an orchestral thematic voice (at times matching John Williams in tone), Edward Shearmur delivers you The Count of Monte Cristo, another winner to remember and behold.
Tracklisting
1. Introduction (1.54)
2. Landing on Elba (3.32) Excellent track
3. Marseille (4.22)
4. Betrayed (3.52)
5. Chateau D'If (4.26)
6. Abbe Feria (2.23)
7. Edmond's Education (0.58)
8. Training Montage (1.54) Excellent track
9. Escape from the Island (7.23) Excellent track
10. Finding the Treasure (2.52)
11. An Invitation to the Ball (2.12) Excellent track
12. Involving Albert (2.46)
13. After the Party (3.05)
14. Retribution (5.28)
15. End Titles (5.46) Excellent track
Total Length: 53.03