In much the same way that Luc Besson's more curious European sensibilities won't appeal to everyone, Eric Serra's combination of orchestra, chorus and more importantly, synths won't always stand well with the orchestral soundtrack fan. After The Fifth Element, Besson, Serra and leading lady Milla Jovovich have created a contemporary epic charting the life of the somewhat infamous Joan of Arc, but Besson's occasionally trippy dream/vision sequences mean this is far from the typical, plodding biopic. These more inventive sequences will not sit easily with everyone, but the ambition of the production is evident throughout and for the large part is successful in creating an enthralling and vivid account of her life.
Eric Serra has a somewhat notorious reputation with soundtrack fans, but I think this is perhaps the one score that will convince them that he is an extremely capable composer who can mix diverse writing styles in a generally succesful way and with several outstanding moments. The opening cue, Talk to Him is as beautiful and elegaic as one might hope and perhaps not a writing style that one might associate with Serra. It is when the darker periods in Joan's life are explored does Serra use electronics, either to enhance deep bass lines or just to provide effects that could not be achieved acoustically. These are often interesting to start with, but can become a fraction tedious after a while. Secrets of a Strange Wind, for example is definitely more of an exercise in mood than music and could perhaps have been omitted with little detriment to the album. There are some interesting uses of samples, but these are more likely to be of interest to synth junkies than music fans.
It is when the orchestra comes to the fore or at least plays a majority role does Serra's real composing ability show up. The shimmering strings and orchestral murmerings of The Messenger of God and Find Him recall some weird cross between Bernard Herrmann for texture and Alfred Newman for higher string passages. The choir is used sparingly and effectively, most notably in cues such as Armaturam Dei and Rex Coronatur, even if the former ends with some bizarre sampled textures. As well as the more cerebral moments, there are some batteringly percussive action sequences that combine brutality and musicality in the best tradition of Jerry Goldsmith or James Horner's Braveheart. These are not especially fast paced, but grind along like the massive army that Joan ended up leading.
Perhaps the most disappointing moment on the album is the final score cue, Angelus in medio ignis which for the first time in ages actually does sound far too close to Carl Orff's infamous Carmina Burana, although the effectiveness of this cue to round out the album and close the film cannot be denied. My Heart is Calling is a somewhat unusual song which is also filled with strange samples and synth effects. It doesn't detract from the score much, but seems like a very unusual addition to a film and score of this type. Despite a very few misfires and less interesting moments, this is a generally excellent album featuring many powerfully dramatic sequences, some inspired (if occasionally overlong and overused) sampled effects and some truly elegant string and choral writing. What it lacks in cohesion it makes up for in sheer brevity and inspiration and is an admirable indication of Serra's true talent for writing orchestral music.