Frankie Starlight


Colosseum (4005939567927)
Varèse Sarabande (0030206567922)
Movie | Released: 1995 | Format: CD
 

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# Track Artist/Composer Duration
1.From My WindowBelinda Pigeon3:36
2.Moon (Main Title)2:25
3.Windows and Memories1:39
4.Flashback1:43
5.Visions2:33
6.A New Life1:01
7.Jack and Bernadette3:46
8.Emma's Revenge2:41
9.At Play1:09
10.Wild Ride1:33
11.Rooftops and Starlight2:00
12.Release2:18
13.In Paris1:56
14.Farewells1:39
15.Proposal2:42
16.Roofdance (End Credits)4:03
 36:43
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Frankie Starlight - 10/10 - Review of Tom Daish, submitted at (English)
One of the more curious affectations of Elmer Bernstein's more recent scores is the liberal use of the ondes martenot, performed by Cynthia Millar. As a kind of softened theremin, it can have a magical and haunting quality, but one can't help feel that Bernstein uses it just a little too often. That having been said, Frankie Starlight presents an almost perfect use of the instrument. A coming of age style drama, the film didn't really make much impact at the cinema, but Bernstein's score has remained a favourite with fans and with good reason.
The album opens with From My Window, a song based on the main theme and performed by Belinda Pigeon. Not, perhaps, a household name, but her touching performance hits just the right balance between sweep and intimacy. The gorgeous and subtle accompaniment of piano and ondes martenot is a model of perfect arrangement. The theme is one of Bernstein's most memorable and while it hasn't reached the level of recognition of some of his big themes, it certainly deserves to do so. It is used fairly sparingly throughout the rest of the score so its dramatic impact is heightened considerably, Jack and Bernadette being the longest sustained appearance outside of the credits and song. Its wistful luster is not always appropriate, although the minor key counterpoint of the theme on ondes martenot and accompanying harp in A New Life is very fetching.

The evidence of Bernstein's effortless gift for scoring drama can be found throughout, as can his marvellous use of a more limited orchestral palette. The ondes martenot appears frequently, but doesn't outstay its welcome and Bernstein uses a combination of gentle strings, piano, flute and harp, which is a very pleasing combination. Only a brief outburst of brass in Visions disrupts the gentility of the first half. At Play starts to open the score up a little and is a more lively cue with some trademark Bernstein syncopation, but there is still a resistance to overdoing the orchestration. Wild Ride extends this further with an attractive variation on the main theme with pulsing horn accompaniment. The ensuing tracks increase the sweep of the score, including a brief brass finale to Release that has a touch of melodrama, but In Paris and Farewells are more sombre before the main theme is reprised for the End Credits.

I commented in a review for a different score (not by Bernstein) that, although the music was quite lovely, the lack of variety in tone and drama meant that the album as a whole was a disappointment. That Bernstein actively avoids this is the reason he is held in such high esteem. He carefully shades the drama of each cue so although there are no jarring changes of dramatic direction, but there is always something new to savour. A film with the obscurity of Frankie Starlight is rarely treated to a good score, let alone a great one and Bernstein's music is one of his finest of recent years. It presents everything that is good about his music; the gift for fetching, memorable melody combined with a finely etched dramatic sense. Many composers can manage to be subtle when necessary, but subtle shouldn't mean boring as it so often does. In Frankie Starlight, Bernstein delivers on all counts. Enchanting.


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