Before and After


Hollywood Records (0720616203922)
Movie | Released: 1996 | Format: CD
 

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# Track   Duration
1.Main Title4:03
2.Searching for Clues1:54
3.Destroying Evidence3:03
4.Looking for Jacob2:07
5.First Postcard1:48
6.Dr. Ryan0:51
7.Apprehended3:12
8.Preliminary Hearing1:05
9.Ben and Carolyn1:27
10.Treehouse2:55
11.The Confession4:49
12.The Grand Jury1:46
13.Carolyn2:11
14.It's Your Fault1:54
15.The Truth1:41
16.Jacob's Gone2:00
17.Before and After4:14
 41:00
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Before and After - 08/10 - Review of Tom Daish, submitted at
As I've said before and I'll probably say again, there are certain types of film that don't lend themselves to very interesting scores; family dramas and courtroom dramas perhaps being the most likely to provoke dull but worthy music from composers who don't wish overplay their hand. Therefore, the fact that as a film, Before and After is a dull but worthy combination of both genres, things do not bode well. It is with great relief that I can say that Howard Shore's score is one of the more interesting entries of recent times. It is moody and sombre, but also dynamic and compelling when reqiured.

Unlike the very softly-softly approach to this kind of film that attempts not to overpower subtle characterisation, Shore isn't afraid of making more bold musical and dramatic statements. While comparing the score to Bernard Herrmann might be extreme, it is certainly not that intense or inspired, but Shore seems much more at home with underpinning the psychology of the drama musically than some of his colleagues, many of whom merely meander around beneath the images. The Main Title theme isn't terribly memorable melodically, but is dramatically striking and sets the tone for much of the score. The orchestration very much favours strings, with only the odd sprinkling of woodwind and brass during moments of higher incidence such as the tense Destroying the Evidence and It's Your Fault. Shore also effectively blends in some more romantic material, without breaking the overall mood. Cues such as Dr. Ryan and Apprehended feature some rather warmer writing for the cellos.

A well written and fairly striking score that is noteworthy given the confines of such a talky film. Perhaps a little opressive to invite multiple listens, but anyone used Bernard Herrmann levels of intensity will not find this a problem. The London Philharmonic give a suitably imposing performance that is nicely captured in the detailed recording.


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