Regular Film Music on the Web readers will recall
that the site's reviewers unanimously voted Varèse Sarabande's
release of Alex North's Oscar-nominated complete score for Cleopatra
as the 'Best Classical film Score' recording of 2001. You can
read our reviews again below. Brief mention is made of North's Cleopatra
music in the outstanding two-hour documentary, Cleopatra
– the film that changed Hollywood (and nearly wrecked 20th
Century Fox) that is the main component of the third disc in this
lavish package. For this special DVD release, the feature lasts 248
minutes, considerably longer than the truncated 3 hours+ that the
20th Century Fox executives insisted it be cut to, for
its initial release. [The documentary appeals for a continued search
for up to two more hours of missing film to complete 6-hour production
that was producer Walter Wanger's original vision] This new refurbishment
has North's Cleopatra music retrieved, restored and remastered
– to make up 2˝ hours of score. The result sounds stunning complementing
the film's brilliant, lush sets and costumes. The comment is made
that North's music is a major achievement in film music, the score
being of great complexity – layer on layer - using extraordinary exotic
instrumentation, often giving the impression of slithering snakes
to suggest the storyline's serpentine plots and counter-plots.
Looking at the film so many years on from its
original release in 1963, and all its incumbent sensational publicity
(and the unkind notices quoted from Halliwell at the top of this review),
one can appreciate the acting and its colour spectacle all the more
objectively. Both Elizabeth Taylor and Richard Burton may chew the
scenery but their chemistry certainly ignites the screen. Rex Harrison
acquits himself well in something of a tailor-made role as Julius
Caesar allowing him to flex his well-worn authority with charm routine.
[Later he was to win an Oscar for authority without charm as Henry
Higgins in My Fair Lady] Roddy McDowell gave the performance
of his career as Octavius but was cheated from winning a supporting
actor Oscar because of a scandalous clerical error that entered him
as a leading actor nominee contender.
An extraordinary epic finely refurbished for
DVD release with an absorbing documentary. It is a pity there was
so little coverage of the Alex North score
Ian Lace
Here's what we said about the Varèse
Sarabande soundtrack album released last year
After breaking new ground with his score to Spartacus
just three years earlier, Alex North went even further with Cleopatra,
writing music that, particularly in the film's first half, defies
Hollywood fashion by conceding the barest minimum to conventional
thematic melody. Instead, jagged, clashing rhythms and jabs of percussive
dissonance dominate an almost unrelenting succession of cues in this
monumental work. This is not easily accessible music. The score is
so massive -- 53 cues totalling 151 minutes! -- and meticulous that
it defies quick assessment, making what follows more a series of impressions
rather than a studied analysis.
One of the score's larger cues is 'Cleopatra's
Entry to Rome,' something Rózsa or Newman would have turned
into a grand set-piece complete with full orchestral treatment of
bold thematic material. North, however, scores it with what sounds
like obscure percussion and brass, sounding rather like primitive
source music.
Even where the music is more readily accessible
- in the overture and opening title theme for Caesar and Cleopatra
- North makes it clear that what melody is offered will focus on intimate
portraits rather than sprawling grandeur. The overture, for example,
is based wholly on North's theme for Cleopatra's ambition, underlining
her sensuous, sinister nature, while the Caesar-Cleopatra theme is
voiced largely in subdued woodwinds with soft harpsichord punctuation.
It would seem evident from this approach that
North was working closely with writer-director Joseph L. Mankiewicz,
whose vision of an intimate spectacle is equally apparent from the
film's many finely crafted scenes. (See the January 1988 Films
in Review for a fascinating account of the director's original
intentions in this much-storied production.)
This musical intimacy, first suggested in North's
delicate yet detached treatment of Cleopatra's and Caesar's cerebrally
and politically based relationship, takes a decidedly warmer turn
in the film's second half as Cleopatra and Mark Antony's relationship
develops. The musical material for Antony and Cleopatra, naturally,
forms the core of the film's second half, examining and illuminating
the many layers of the two lovers' tortured relationship. The cue
'Love and Hate' begins softly before dissolving into throbbing string
chords as a tearfully raging Cleopatra grabs a knife and repeatedly
stabs the bedding she and Antony had shared. As her agony overcomes
even her anger, she crumples amid the ripped and torn bedsheets, accompanied
by North's music which now becomes -- as described by Mankiewicz in
what must be the most literate, insightful liner notes ever penned
by a filmmaker -- for all the world a simple lullaby, gently soothing
the sobbing queen.
But it's North's use of brass and percussion
that especially stand out - at least on an initial listening.
Caesar's assassination, which is depicted from
Cleopatra's perspective, opens softly with the Caesar-Cleopatra theme,
after which North introduces ominous stirrings as the plotters close
in, finally erupting in a maelstrom of shrieking brass. (North has
referred to this scene as among the best-scored of his career.)
'Sea Battle' -- at 14 minutes, the score's longest
cue -- is a small masterpiece unto itself, not least for North's conducting.
Generals are sometimes described as directing their battles like conductors;
here, the simile can be turned around: North marshals his brass and
percussion like a general directing a great field battle. (And it's
here, by the way, that the composer allows himself one of his few
quotations from the earlier Spartacus.)
Also worthy of special attention is the cue 'Grant
Me an Honorable Way to Die,"in which North's brass echoes the
frustration of Antony, his troops having deserted him, as he flings
himself repeatedly against Octavian's troops who refuse to strike
back. Again, from the LP liner notes, Mankiewicz' own description
is best: "The muted trumpets scream, in Antony's name, an anguish
which cannot be written, in a voice no actor can project."' (My
only quibble with Jeff Bond's exhaustive and otherwise excellent notes
is the failure to include at least some part of Mankiewicz' original
notes.)
Shortly after this score became available, thanks
mainly to the efforts of Varese Sarabande's Robert Townson and producer
Nick Redman, Film Score Monthly's Lukas Kendall - who also
had a hand in its production - voiced frustration at what he perceived
to be a lack of public response. The reason, he speculated, might
well be North's musical style which, as already noted, defies quick
or easy appreciation. The ensuing discussion has been spirited, to
say the least, including testy comments from Townson.
Not to worry, ladies and gentlemen: If my own
experience in learning to appreciate North is any example, it's just
a matter of time. I can still recall, as a teenager, getting the soundtrack
album to Spartacus. I'd already been introduced to Tiomkin,
Rózsa and Jarre, so this one looked like a natural. I put the
record on the turntable - and then listened, dumbfounded, to nearly
40 minutes of the most obscure music (well, save for that love theme)
I'd ever heard. One more listen confirmed my initial impressions and
the album went on the shelf. Several years later, I picked it up on
a whim and gave it another listen -- and was shocked to discover how
good a composer Alex North had become!
So just be patient, everyone. "Cleopatra"is
an acquired taste, and thanks to these gentlemen, now we can acquire
it!
John Huether
Ian Lace also urges you to acquire this album:-
I heartily agree with everything that John says
in his adroit review above. I hasten to add that there is much that
can be enjoyed at a first hearing. (Although I would agree that more
and more riches are revealed on repeated hearings.) This is a complex,
densely textured score, very richly orchestrated. For the most part
there is always something to arrest and interest the ear. It is a
score that works supremely well with the on-screen images. Occasionally
it is quite surprising. Take for instance the syncopated figures in
'Moon Gate'.
One admires the cleverness of communicating, simultaneously,
so much atmosphere and diversity. Take for instance, 'Cleopatra Enters
Rome', you not only sense the grandeur and excitement of the occasion,
but you also feel that the slow sinuous swaying figures paralleling
the progress of Cleopatra's enormously imposing 'train', is not so
subtly mocking the pride of the great Roman empire. Balancing the
trumpetings and drum beats that herald the might of Rome, are the
sensuous rhythms associated with Egypt, employing a rich diversity
of percussion: intriguing and glittering in 'A Gift for Caesar' sinister
and sinuous in 'A Taste of Death', voluptuous in 'Cleopatra's Barge'
and hedonistic in 'Bacchus'.
I have to say that the least interesting facet
of North's talent is his romantic music. For the most part, like Herrmann
(Vertigo excepting), he does not seem to be able to write a memorable
romantic theme. Although his love music works admirably in the film,
one is not (at least this reviewer isn't) sufficiently moved by it
divorced from the on-screen images. There is too much reliance on
high string 'sweet nothings'. I therefore found some 8 minutes of
this material, spread over two or three consecutive cues on CD 2,
tedious. But this is a minor carp in the context of a fascinating
2˝ hours of masterly screen scoring. Unhesitatingly recommended
Ian Lace