|2.||Flight to Wales||4:25|
|3.||Amelia and George||4:12|
|4.||No Longer a Passenger||6:54|
|5.||Flying with Eleanor Roosevelt||2:36|
|6.||Amelia and Gene||3:03|
|7.||The Ecstasy of Flying||2:0|
|8.||Vagabond of the Air ||3:37|
|10.||The Call of the Wild||3:08|
|11.||Radio Love Call||2:15|
| ||52:49| Submit your review
Gabriel Yared’s most recent offering is a sumptuous and romantically laced work that utilises piano, strings and subtle woodwind to create some of the most appealing and sensitive themes that I have heard in a long while. The composer has always had a real gift for creating haunting and delicate sounding tone poems and utilising these to underline and enhance the poignant or emotional moments that are happening on screen. Yared has the ability to create any style of music but personally I am of the opinion he is more at home scoring projects such as AMELIA, THE ENGLISH PATIENT, CITY OF ANGEL, and MESSAGE IN A BOTTLE for example, his light and tantalizing musical touch embracing every area of the films he has worked upon. I wondered after the rejection of his mammoth score for TROY if the composer would in fact return to a regular scoring schedule, as in big budget or blockbuster genre, because he was at the time saddened and quite disillusioned with many areas of film scoring in the U.S.A. I am glad to say that he obviously did, and has since this minor hiccup in his illustrious and enduring career gone from strength to strength. Ok, admittedly he has worked on a number of productions that called for a token musical score and many of them relied on the use of songs on their soundtracks rather than original music. With AMELIA Yared, has fashioned a fully symphonic work that is brimming with poignant and affecting motifs and compositions that create a sense and atmosphere of déjà-vu that harkens back to the days of the lush romanticism of the golden age, in particular the swelling and full bodied strings of Max Steiner, Alfred Newman, Franz Waxman and Hugo Friedhofer. The return of lush, opulent and starry-eyed scoring styles in film is in many collectors opinion long overdue, motion picture music has for a number of years now been in decline in both quality and quantity in many instances scores for films become just a background noise, that have no real musicality or thematic substance and also instantly forgettable. AMELIA is certainly not included within this category as it is a haunting and well structured work. The central or principal theme from the score is heard at its most prominent within the compact discs opening track “Betty And Zorg” the composer employing solo piano, strings and melancholy sounding horns to infuse a sense of tenderness and warmth.
The piano introduces the theme and is underlined by the string section at first as a subtle and unobtrusive embellishment then building in volume to become a fuller and stronger component taking on the theme and giving the composition a full working with the support of horns and woodwind, that complete the line up of instrumentation complimenting and punctuating the piece wonderfully. There are many such cues included within this score, plus a scattering of semi atonal sections and also a hint of source/period music. This is a score that I have to recommend heartily, sit back and just let the sheer passion and emotion of Yared’s luxurious music sweep over you. Then put the compact disc on again and again.
One of the most anticipated films of the fall, Fox Searchlight’s Amelia is already being touted as a major award contender.
Amelia stars two-time Academy Award-winner Hilary Swank as Amelia Earhart, the legendary aviatrix and enigmatic symbol of the American free spirit, who was guided by a profound curiosity for everything life had to offer. Earhart’s early aviation triumphs and meteoric rise to fame and fortune were propelled along by her tempestuous partnership and eventual marriage to publisher George Putnam (Richard Gere). Bound by mutual ambition, admiration and ultimately a great love, their bond could not be broken even with her brief passionate affair with Gene Vidal (Ewan McGregor).
Ms. Earhart was the first woman to solo the Atlantic and was the first pilot, man or woman, to fly unaccompanied across the Pacific. In Amelia’s attempt to be the first to fly around the world in an equatorial flight, her life was tragically cut short with her mysterious and untimely disappearance over the South Pacific in 1937.
The soaring score is by the Academy Award-winning composer Gabriel Yared (The English Patient).
Other releases of Amelia (2009):