Angel

Philippe Rombi is a name that is climbing in popularity in the film music world. Two or three years ago I had not even heard his name, but now whenever a new project of his is announced I sit up and pay attention. He has not been on the scene for very long, but his talents are unmistakable. A unique and spell-binding throwback to romantic years past, Angel is an utterly beautiful journey which hits almost all the right notes. The film itself is French and as such has not been formally released in the United States. The score has not yet had an official U.S. release either. Thank God, then, that this beautiful score is readily available for download on Amazon MP3 and Itunes (or as an import with a relatively steep price).

The score (interestingly enough) begins in a minor, slightly turbulent fashion in “The Real Life of Angel Deverell (Main Theme)”. The main theme evokes feelings of impending tragedy, so the listener knows immediately where the score is going to end up. However, it is the journey along the way that makes this such an elegiac, emotional, and transcendent listening experience.

In addition to the “Life” theme, there are two other distinct themes that weave their way throughout the score and which have concert suites: “Angel’s Theme” and “Paradise Theme”. Both are slow and lyrical, winning the listener over with their lilting quality, but it is the latter that will spur one’s romantic tendencies. The Paradise theme is a piano and strings piece which starts out softly and tenderly, but about 3/4 of the way through bursts forth in exuberance while still maintaining the sweet and care-free aura of a romantic Hollywood love. Angel’s theme, though, is the bona-fide winner here. It is sweet and vibrant while sounding mature with a hint of the bittersweet throughout. The concert suite starts with whimsical strings performing a romantic introduction before a cello (or violin-like instrument) performs the the theme with delicate piano and string backing. At about 2:59, a flute with those whimsical strings introduces the theme once more followed by perhaps the most gorgeous statement of theme on the album (topped only by the alternate rendering of the theme at the end of the album). The bittersweet element is made clear by the supporting tunes at beginning 1:25.

The development of these themes is nothing spectacular, but they are stated multiple times throughout the score. Highlights include “London” (where the “Life” theme is given a major key, which happens a couple of times throughout the score), “Crowning Moment” and “Honeymoon”. The score does not maintain this peppy attitude for too long, though, as the proceedings grow more and more melancholic and tragic. Of course no story about the “life” of a person is complete without tragedy, and the latter third of the album helps give the score that bittersweet quality that contributes to its beauty. “The War” goes so far as to bring us an outright moment of terror from the horns at around the 1:45 mark.

So far, I have praised this soundtrack to high heavens, and the fact is that Rombi deserves among the highest of praises for his work. Has there been better? Of course there has. This soundtrack has a histrionic and melodramatic nature about it which might put off the average listener. However, this score is intended as a throw-back to an era long gone, an era which is known for such qualities such as those, and this score is all the more impressive because of it. Rombi successfully replicated that old style and made it his own. To be honest, the effortlessness with which this music swept me away makes me realize that I don’t care whether it is over the top or not. This is a beautifully romantic journey from start to finish, one that I have taken and will take many times in the future.

Bottom Line: If you didn’t guess already, this score comes highly recommended from me. If you like your dramatic music big, romantic, and beautiful, then I promise you won’t be disappointed